THE  TEACHER 

OF 


PAINTING 

BY     D.  M .CAM FA  N>» 


— '•  •  "nVK^^ 

California; 

Regional 
Facility 


"a? 


THE 

TEACHER  OF 

FLOWERS and  FRUIT 

PAINTING 

BY 

D.  M.  CAMPANA 


SECOND    EDITION 


•  vw- 


Copyi-ighted 

D.  M.  CAMPANA 

Chicago,  111. 


B 

El 


N  this  book  I  will  deal 
on  the  topic  of  "Flower 
and    Fruit    Painting," 
and  will  endeavor  to  explain 
as  plainly  as  possible  the  best 
method  and  Colors  employed 
by  the  very  best  artists  in  re- 
producing   flowers    and   fruit 
with  Water  Colors,  with  Oil 
Colors  and  China  Colors. 

I  will  deal  in  general,  be- 
cause the  detailing  of  all 
known  fruit  and  flowers  would 
be  an  undertaking  requiring 
a  number  of  books  making  the  work  very  ex- 
pensive and  not  easily  purchased  by  people  with 
small  means.  Furthermore,  not  all  flowers  and 
fruits  are  popular  with  the  public,  some  being 
painted  more  than  others  on  account  of  their 
more  decorative  shapes  and  colors  and  also  be- 
cause of  their  individual  pleasing  and  delicate 
appearance. 


2051965 


It  would  of  course  be  a  useful  task  for  our 
reader  to  study  nature  in  order  to  get  better  ac- 
quainted with  the  subjects,  their  forms,  their 
movements,  their  colors  and  also  the  shapes  and 
colors  of  their  leaves. 

As  I  mention  leaves,  I  must  say,  that  every 
flower  or  fruit  must  be  given  the  proper  shape 
of  leaf,  as  it  would  be  very  incongruous  to  see, 
for  instance — -an  apple  with  a  grape  leaf  or 
grapes  with  apple  leaves.  This  is  a  mistake 
very  often  found  among  decorators  not  having 
had  a  sufficient  training  in  nature;  and  this  in- 
sufficiency will  always  make  the  work  inartistic 
and  poor. 

If  you  will  take  my  advice  you  will  copy  with 
pencil,  flowers  and  fruit  from  nature  as  much  as 
possible,  as  it  would  not  be  quite  necessary  to 
begin  copying  them  with  colors.  Pencil  draw- 
ing will  be  sufficient  and  will  be  the  proper  thing 
to  give  you  a  general  idea  of  the  shape. 

Take  for  instance,  roses,  of  which  there  are  so 
many  kinds  and  shapes,  some  having  curly  petals, 
some  having  small  and  straight  petals,  some  be- 
ing closed  in  a  bud-like  shape  and  some  wide 
open.  You  will  notice  that  if  you  come  to  paint 
these  roses,  you  should  know  at  once  the  special 
shape  that  you  intend  to  reproduce,  so  that  peo- 
ple when  looking  at  your  decoration,  will  easily 
know  if  the  rose  you  painted  is  an  American 
Beauty,  McKinley  Rose  or  whatever  kind  you 
may  desire  to  call  it. 

If  you  have  several  good  drawings  made  with 
pencil,  when  you  come  to  paint  with  color,  you 
will  be  more  positive  regarding  the  proper  place 
to  put  your  touches  and  you  will  not  tinker  over 


and  over  with  uncertain  touches  and  poor  hand- 
ling. 

A  good  many  of  my  readers  will  object  to  giv- 
ing the  required  time  for  the  study  of  Drawing, 
as  they  will  claim,  time  is  short,  and  they  must 
make  a  little  money. 

This  reason,  of  course,  is  very  strong,  but  if 
you  wish  to  learn  a  trade,  you  must  be  ready  to 
sacrifice  some  money  just  as  when  you  are  start- 
ing into  a  new  business. 

The  time  that  you  spend  will  repay  you  a  hun- 
dred-fold and  if  you  will  take  the  time  of  learn- 
ing how  to  draw,  you  will  have  the  greater  ad- 
vantage of  being  able  to  paint  quickly  and  better, 
which,  of  course,  will  bring  you  a  far  better 
financial  return  than  if  you  had  carelessly 
neglected  this  important  point,  of  drawing  from 
nature. 

You  should  therefore  begin  properly  and 
should  realize  that  it  takes  timie  to  do  any  kind 
of  work  and  that  it  takes  still  more  time  to  do 
that  work  properly.  You  can  place  some  flowers 
standing  in  a  small  vase  with  water,  near  the 
window,  so  that  the  light  will  illuminate  them 
on  one  side  only,  take  some  drawing  paper  and  a 
pencil  and  begin  to  draw  the  flowers  and  leaves 
as  you  see  them  in  front  of  you,  copying  the 
whole  very  carefully  and  as  correctly  as  you 
possibly  can. 

Draw  the  subjects  with  all  details,  show  the 
different  petals,  how  they  are  attached  to  the 
stems,  how  many  leaves  in  the  cluster  and  have 
everything  just  like  the  model. 

You  can  paint  a  flower  or  fruit  with  two  or 
three  colors,  and  if  the  drawing  is  correct,  you 
will  find  the  effect  to  be  beautiful  while  on  the 


contrary,  if  you  have  the  most  beautiful  colors 
and  the  drawing  is  incorrect,  the  decoration  will 
be  positively  inferior  in  quality. 

When  your  drawing  is  correctly  done  in  pencil, 
you  may  apply  the  dark  shadows  seen  between 
the  petals  and  these  shadows  will  give  the  round- 
ness to  the  flowers  and  give  the  proper  relief. 

I  mentioned  before  that  the  light  should  come 
only  from  one  side,  and  this  is  of  the  utmost  im- 
portance, because  in  this  way  the  light  will  illu- 
minate the  flowers  on  one  side  and  on  the  op- 
posite side  it  will  be  in  the  shadow. 

Always  follow  this  suggestion  in  everything 
you  paint  and  have  light  on  one  side  and  shadow 
on  the  other  because  this  will  make  it  much 
easier  to  give  the  right  impression  of  the  flower 
and  also  because  this  is  a  general  rule  in  all 
paintings,  that  is,  "light  and  shadows." 

If  you  had  copied  such  a  flower  in  the  open 
air,  and  the  light  had  come  from  all  direction, 
you  would  find  it  much  more  difficult  to  apply 
the  different  shadows. 

For  this  reason  I  would  advise  you  always  and 
especially  in  the  beginning  to  copy  your  subjects 
indoors. 

Of  course,  in  suggesting  rules  for  flowers,  I 
always  include  the  same  rules  for  fruits,  as  they 
also  are  copied  similarly  to  the  flowers  and  they 
are  also  placed  in  the  same  position  and  drawn 
carefully  with  a  pencil.  You  may  undertake  the 
painting  with  colors,  but  be  certain  not  to  be  too 
anxious  to  start  using  the  colors,  because  colors 
are  actually  of  secondary  importance,  when  com- 
pared with  drawing. 

In  painting  flowers  I  would  call  my  reader's 
attention  to  the  lightness  and  easy  movements  of 


the  flowers  as  compared  to  fruits.  Flowers  are 
generally  more  decorative  and  they  usually  have 
long  stems,  which  can  be  twisted  and  moved 
around  considerably  when  being  painted. 


WATER  COLOR  PAINTING— OIL  PAINTING, 
CHINA  PAINTING  —  THEIR  DIFFERENT 
TECHNICS  AS  COMPARED  TO  ONE  ANOTHER 
AND  THE  BEST  METHOD  OF  REPRODUCING 
NATURE  WITH  THESE  THREE  DIFFERENT 
PIGMENTS 


EADERS  interested  in  learning  Flower 
and  Fruit  Painting  in  Water  Colors  will 
find  all  matters  pertaining  to  technic  of 
Water  Color  Painting  individually  ex- 
plained in  this  book.  If  you  desire  to  study  the 
technic  of  Oil  Painting  and  its  method,  all  pri- 
mary rules  will  also  be  found  in  this  booklet. 
The  method  and  technic  of  China  Painting  will 
be  found  explained  very  thoroughly  in  separate 
chapters.  To  explain  more  fully  the  primary 
rules  of  either  one  of  these  three  branches  of 
painting  as  may  interest  the  individual  student, 
I  have  divided  them  in  three  separate  classes. 
Students  may  refer  to  them  accordingly. 

This  book  is  purposely  written  for  students 
wishing  to  learn  the  painting  of  flowers  and 
fruits  from  nature,  without  the  help  of  a  teacher. 
It  is  no  doubt  a  difficult  matter  to  learn  a  trade 
or  an  art  without  having  a  person  to  explain  to 
you  how  to  master  the  different  difficulties. 

The  best  way  to  follow  is  to  purchase  a  text 
book  which  would  take  the  place  of  a  teacher 
and  gives  all  the  important  facts  you  may  re- 


quire  at  least  for  the  beginning,  and  to  acquire 
from  this  book  a  general  idea  of  this  art. 

If  you  are  sincerely  interested  in  your  work, 
you  will  continually  learn  new  points  and  master 
those  difficulties  thought  insurmountable  at  the 
beginning. 

Work  and  work  again,  as  this  book  does  not 
accomplish,  but  teaches  you  the  method,  with 
which  you  must  accomplish. 

Art  is  difficult,  as  it  not  only  attempts  to  re- 
produce nature,  but  it  adds,  takes  or  composes 
for  the  purpose  of  making  harmonious  things. 
Study  nature  continually,  as  this  is  the  master 
teacher  of  all  branches  of  art. 

Readers  may  also  be  able  to  make  useful  com- 
parisons between  these  three  kinds  of  paintings, 
and  the  comparisons  may  prove  useful  and  inter- 
esting. 

Flowers  are  very  airy  and  weigh  very  little,  so 
that  they  can  be  easily  placed,  here  and  there, 
partly  covered  with  background  or  coming  out 
of  the  clouds,  making  it  very  pretty  and  light. 

Fruit,  on  the  contrary,  being  heavier  by  nature, 
are  in  most  cases  painted  in  a  laying  position, 
for  instance — on  the  table,  in  a  basket,  etc.  In 
china  painting,  they  are  also  painted  in  decora- 
tive positions.  You  will  notice,  that  though 
flowers  generally  look  upward,  fruits  hang  down, 
this  being  very  obvious,  as  they  are  heavier 
than  flowers. 

Such  a  fact  is,  however,  very  often  overlooked 
and  the  appearance  of  the  subject  will  be  faulty 
and  out  of  place. 

There  is  another  difference  between  flowers 
and  fruits,  this  difference  being  in  the  trans- 
parency of  the  subject. 


Flower  petals  are  very  thin  and  transparent; 
while  the  nature  of  fruit  will  generally  not  allow 
the  light  to  penetrate  them. 

An  exception  to  this  rule  would  be  grapes, 
currants,  gooseberries  and  a  few  others,  which 
being  of  a  liquid  nature,  will  allow  the  light  to 
penetrate  them  and  will  show  a  certain  amount 
of  transparency. 

The  student  should  also  remember,  that  espe- 
cially among  flowers,  nature  follows  a  certain 
rule  as  to  the  amount  of  petals  for  every  flower 
and  also  as  to  the  attachment  of  such  petals  to 
the  main  body. 

You  will  find,  for  instance — that  wild  roses 
have  five  petals,  violets  have  five,  as  also  forget- 
me-nots  and  most  of  the  fruit  blossoms  have  five 
petals,  and  if  you  paint  any  special  flower,  it  is 
absolutely  necessary  that  you  know  beforehand 
how  many  petals  such  a  flower  has,  so  that  you 
may  paint  it  correctly.  Green  leaves  also  grow 
in  clusters  of  certain  numbers,  3,  5,  7,  etc. 

Of  course,  there  are  exceptions  to  the  rule, 
because  natural  freaks  are  liable  to  show  a  flower 
with  one  petal  less  or  more  than  the  general 
rule,  but  this  being  only  an  exception,  it  should 
not  enter  into  your  decoration,  because  you  are 
supposed  to  paint  nature  as  it  is  in  its  proper 
form. 

You  never  paint  clover  leaves  with  four  petals, 
simply  because  you  are  apt  to  see  one  with  four 
leaves;  and  for  the  same  reason  you  should  al- 
ways study  the  character,  not  only  in  form,  but 
also  in  the  number  of  petals. 

It  would  be  a  difficult  matter  to  give  a  certain 
number  of  petals  for  roses,  chrysanthemums  and 
such  flowers  with  a  large  number  of  petals,  but  it 


would  not  be  surprising  if  they  also  would  come 
very  close  (if  not  accurate)  to  a  certain  number 
of  petals. 

With  fruit  of  course,  this  rule  is  not  neces- 
sary, because  fruits  are  in  solid  form  and  they 
will  only  follow  a  certain  shape  and  that  will  be 
all  that  need  be  observed  by  students. 

The  stems  of  the  fruit  are  always  more  clumsy 
and  stronger  than  the  st'eras  of  flowers  because 
fruit  is  heavier  and  needs  support. 

These  are  a  few  of  the  principle  rules  which  I 
wish  to  impress  upon  the  students,  and  a  good 
many  more  will  be  added  in  the  course  of  this 
book. 


WATER  COLOR  PAINTING 

AINTING  with  Water  Colors  is  perhaps 
the  most  difficult  of  the  three  methods 
treated  in  this  book.  It  is  most  difficult 
because  if  a  mistake  is  made,  for  in- 
stance, color  applied  over  a  high  light,  a  cloud 
covered  by  the  wrong  tint,  a  false  line  on  your 
figure  subject,  etc.,  it  is  particularly  difficult,  if 
not  impossible,  to  cover  up  the  mistake,  at  least 
without  recourse  to  some  special  trick. 

Paper  does  naturally  absorb  the  color  and 
no  amount  of  washing  or  tampering  will  give 
you  good  results.  You  may  make  a  clever  cor- 
rection, but  not  clever  enough  to  pass  unobserved 
by  an  expert  critic. 

In  other  branches  of  Art,  colors  can  be  erased 
or  covered,  but  not  so  easily  in  Water  Color 
painting.  The  peculiar  nature  of  the  paper  will 
always  retain  a  certain  amount  of  the  color- 

10 


You,  therefore,  "are  warned  to  be  most  attentive 
in  planning  every  color  before  the  application  of 
the  different  shades,  as  when  you  have  started, 
you  will  not  be  able  to  take  time  for  mixing  new 
shades  or  looking  for  colors,  brushes,  etc. 

Prepare  at  first  an  accurate  drawing  of  the 
subject  you  wish  to  reproduce.  Remember  that 
drawing  is  of  the  utmost  importance  as  if  the 
drawing  is  good,  you  have  attained  half  of  the 
success.  Take  sufficient  time  and  plan  all  your 
details  with  a  very  delicate  pencil  line,  even 
marking  small  secondary  objects  liable  to  escape 
your  attention  when  you  are  busily  engaged  in 
applying  colors. 

When  you  paint,  every  stroke  must  be  in  the 
proper  place  and  the  work  must  be  rapid.  The 
quick  drying  of  the  Water  Colors  and  the  dif- 
ficulty of  changing  shades  or  connecting  them 
without  leaving  hard  marks  or  lines  is  very 
great.  In  fact,  your  proficiency  will  be  attained 
when  you  will  be  able  to  blend  and  unite  differ- 
ent parts  in  your  painting  without  showing  any 
sharp  and  connecting  lines.  In  order  to  suc- 
ceed in  this,  I  advise  you  to  have  several  small 
receptacles  (small  saucers)  at  hand  and  prepare 
all  the  main  shades  needed  for  the  particular 
work  you  wish  to  undertake.  For  instance,  if 
you  are  to  paint  a  landscape  and  wish  now  to 
paint  the  sky,  you  should  have  a  small  receptacle 
or  small  saucer  with  the  general  blue  tint  of  the 
sky,  one  with  the  light  tint  needed  on  the  light 
part  of  the  clouds,  one  with  the  middle  tone  of 
the  clouds,  one  with  other  dark  shading,  etc.  If 
any  other  color  is  needed,  have  still  other  saucers 
containing  the  different  shades  and  in  plentiful 
quantity. 

11 


If  you  wish  to  paint  flowers  have  several 
saucers  with  the  different  shades  of  colors,  as 
for  instance,  for  a  Pink  Rose.  Have  two  or 
three  strengths  of  CARMINE,  some  for  the  dark 
shades,  one  for  the  middle  tone  and  one  for  the 
lightest  parts.  Have  another  saucer  with  the 
neutral  tone,  as  for  instance,  a  very  diluted  mix- 
ture of  CARMINE  AND  EMERALD  GREEN 
which  is  used  for  a  neutral  tone  and  have  some 
LIGHT  YELLOW  for  transparency  often  noticed 
at  the  attachment  of  the  petals. 

Having  all  the  colors  at  hand,  you  will  now 
take  several  clean  brushes  and  will  begin  to  ap- 
ply the  the  colors  in  the  proper  place  as  seen  on 
the  original  you  are  trying  to  copy.  ALWAYS 
begin  painting  your  subject  on  the  upper  part 
and  have  plenty  of  color  in  your  brush  so  that  it 
will  spread  and  run  downward  and  suffuse  into 
the  next  shade  you  are  going  to  apply.  If  you 
use  a  brush  with  very  little  color  on  it,  your  ap- 
plication of  color  will  dry  too  quickly  and  this 
will  handicap  you  in  blending  the  different 
shades.  Take  of  one  color  and  apply,  then  apply 
of  another  next  to  the  first  one  before  the  first 
one  has  time  to  dry  and  the  two  will  blend  to- 
gether without  leaving  any  bad  or  sharp  lines. 
Keep  on  until  the  different  parts  of  the  subject 
is  finished. 

It  is  very  difficult  to  paint  a  flower  or  any 
other  subject  with  only  one  coating  of  color, 
but  by  working  as  simply  as  possible  and  by  re- 
touching as  little  as  possible,  you  will  have  a 
much  better  effect  and  a  more  transparent  one 
than  if  you  had  retouched  and  repainted  your 
work  several  times. 

Dampening  of  the  paper  is  a  good  help  and 
12 


will  keep  your*  colors  from  drying  quickly.  In 
this  case  you  dampen  the  paper  only  on  those 
parts  you  are  intending  to  paint.  Use  a  large 
brush  full  of  water  and  go  over  the  paper  two 
or  three  times,  as  only  one  coating  of  water  will 
not  be  sufficient  to  leave  enough  humidity  in  the 
paper.  As  I  have  mentioned  above,  you  should 
not  dampen  the  whole  picture,  but  only  the  indi- 
vidual parts  to  be  painted  at  the  present  time 
and  in  this  way  you  can  blend  your  different 
colors  much  easier  and  at  your  own  ease.  When 
you  work  with  dampened  paper,  use  more  color, 
as  your  tints  will  dry  out  very  light. 

An  experienced  artist  may  be  able  to  work 
very  satisfactorily  without  having  any  special 
outfit,  or  moistening  of  paper  or  tints  ready  in 
the  saucers,  but  it  takes  a  long  time  to  master 
this  art.  I  also  advise  students  to  use  colors  in 
tubes,  as  tubes  are  ready  and  quickly  pressed 
out  on  the  palette,  furthermore  they  are  always 
clean.  Colors  in  pans,  on  the  contrary,  are  gen- 
erally passed  over  and  over  with  the  brush  and 
are  not  always  clean ;  they  will  also  require  con- 
siderable rubbing  before  the  necessary  color  is 
produced.  A  list  of  colors  are  given  here  which 
are  considered  sufficient  outfit  for  a  general  line 
of  Flower  and  Fruit  painting.  Of  course,  many 
more  shades  are  manufactured  and  could  be 
added  to  the  list  but  for  a  good  all-around  outfit 
the  following  list  is  sufficient: 

INDIAN   YELLOW  EMERALD  GREEN 

LT.   CADMIUM   YELLOW   RAW  SIENNA 
DK.  CADMIUM  YELLOW   COBALT  BLUE 
VERMILION  PRUSSIAN  BLUE 

CRIMSON  LAKE  HOOKERS    GREEN 

CARMINE  No  1 

13 


BURNT  SIENNA  HOOKERS  GREEN 

VAN  DYKE  BROWN  No.  2 

IVORY  BLACK  CHINESE   WHITE 
PAYNES'   GRAY 

By  intermixing  these  seventeen  shades  many 
other  shades  are  obtained  and  these  will  give 
you  a  large  field  of  colors.  For  instance,  by 
mixing  INDIAN  YELLOW  with  PRUSSIAN 
BLUE  a  variety  of  very  good  GREENS  for  foli- 
age will  be  obtained.  CARMINE  mixed  with 
COBALT  BLUE  will  give  a  soft,  good  VIOLET 
and  PURPLE  tone,  etc.  If  you  can  purchase 
good  quality  colors,  do  so,  as  good  quality  mate- 
rials are  more  reliable  and  work  more  satisfac- 
torily. 

As  for  Brushes,  four  or  five  different  sizes 
will  be  all  you  need.  One  small  No.  1,  two  me- 
dium No.  4  and  No.  6  and  two  large  wash  brushes 
No.  10  and  No.  12,  all  pointed.  Purchase  good 
paper,  for  instance,  Whatman's,  Fabriano  or  Ar- 
nold's as  these  three  marks  are  good.  However, 
I  do  not  advise  using  the  rough  surface  paper 
for  student's  work,  as  this  quality  requires  more 
ability  to  handle  and  cover.  The  smooth  and 
medium  quality  will  be  far  better  paper  for  the 
present.  Have  it  well  tacked  up  on  the  Draw- 
ing Board  or  use  paper  blocks.  Have  a  recept- 
acle for  clean  water,  a  slab  of  white  opaque  glass 
or  a  white  china  palette  will  compete  your  outfit. 

In  painting  with  Water  Colors,  begin  always 
at  the  upper  part  of  the  picture  as  we  have  al- 
ready mentioned.  Keep  your  paper  leaning  back- 
ward and  not  lying  flat  on  the  table,  as  this  will 
allow  your  shades  to  move  downward  and  will 
also  prevent  the  forming  of  color  pools  which 

14 


would  affect  th$  appearance  of  the  painting. 
Finish  up  all  your  work  as  much  as  you  possibly 
can  with  the  first  coating.  The  least  tampering, 
the  better  the  effect.  Sketch  down  the  whole 
picture  so  as  to  have  a  good  idea  of  the  general 
effect  and  then  apply  the  details  at  the  end. 

If  you  are  very  little  acquainted  with  Water 
Color  Painting  Art,  you  will  find  a  large  variety 
of  information  on  the  Book  "The  Teacher  of 
Water  Color  Painting,"  by  the  same  writer.  List 
of  his  books  can  be  found  elsewhere  in  this 
booklet.  A  catalog  showing  more  complete  list 
of  colors,  brushes,  papers,  models  in  colors,  etc., 
will  be  sent  free  of  charge  by  writing  this 
author. 


15 


OIL  PAINTING 

I L  PAINTING  varies 
from  both  Water  Color 
painting  and  China 
painting  which  two 
might  be  called  transparent. 

In  Oil  painting  the  colors  are  fully  opaque,  or 
not  transparent.  They  cover  everything  under 
them.  To  make  a  light  color  out  of  a  dark 
shade,  you  add  White,  which  is  also  a  non-trans- 
parent color. 

The  more  White  you  use,  the  lighter  will  be 
your  shade. 
The  best  medium  used  is  boiled  Linseed  Oil, 


16 


perhaps  mixed  with  turpentine,  about  half  and 
half,  to  make  if  less  glossy. 

With  oil  colors  you  can  work  almost  at  your 
own  pleasure,  as  a  mistake  can  easily  be  covered 
and  another  color  applied  over  the  mistake-  You 
can  retouch  your  painting  continually,  though  I 
would  advise  students  to  allow  the  former  coat- 
ing to  dry  perfectly  before  applying  more  colors 
over  the  previous  day  application. 

This  is  to  prevent  the  accumulation  of  oil  af- 
fecting the  durability  of  the  picture. 

The  technique  in  painting  with  Oil  colors  may 
be  good  or  bad  according  to  the  attention  given 
to  a  few  simple  rules  in  the  application  of  colors. 
Good  painting  should  have  freshness  of  color, 
good  handling  of  the  brush,  and  lack  of  tinkering. 
Titian  is  a  master  in  technique,  while  Hals  is  a 
master  in  handling  of  the  brush.  Bougherau  is 
perfect  in  a  finished  technique,  while  Zorn  and 
Sargent  are  more  attentive  to  simplicity  in  hand- 
ling colors.  They  do  not  tinker  and  every  brush 
stroke  counts. 

In  comparing  the  old  masters,  with  the  new 
ones,  I  come  to  the  conclusion  that  the  old  mas- 
ters worked  over  and  over  their  paintings,  in 
this  manner  producing  a  certain  thickness  of 
color  and  oil  causing  in  their  paintings  a  solid 
surface,  resistant  to  weather  influences  and  to 
change  of  tone.  The  modern  masters  on  the 
contrary,  paint  their  pictures  quickly  with  few 
strokes  and  with  little  thickness  of  color,  there- 
by producing  a  work  lacking  that  deepness  of 
color,  as  found  in  the  old  master's  work.  Mur- 
rillo,  Raphael,  VanDyke,  Rembrandt  have,  you 
may  say,  fresh  and  perfect  color.  Raffaeli 
paints  in  the  old  master's  style,  so  does  Sim,  and 

17 


their  works  look  always  clear  and  rich.  But 
the  tendency  of  the  newcomers  is  to  produce 
effects  with  very  little  color,  a  method  requiring 
great  training  and  technical  knowledge,  but 
having  a  flat  appearance. 

It  is  very  difficult  to  reproduce  Flowers,  of 
Fruits  or  a  person's  features  with  a  few  strokes 
of  the  brush,  but  the  modern  masters  can  do  it. 
Summing  up,  students  should  rather  learn  to 
paint  with  abundance  of  color  than  with  light 
thin  ones.  A  good  deal  of  color  in  a  painting 
will  keep  fresh  without  much  varnishing,  while 
a  thin  color  will  acquire  that  mat  surface,  lack- 
ing depth  and  freshness.  I  would  also  advise 
students  to  avoid  mixtures  harmful  to  the  color 
and  to  use  as  medium  in  Oil  Painting  a  mixture  of 
half  turpentine  and  half  boiled  linseed  oil  of 
good  quality.  While  this  mixture  will  act  as  a 
varnish  for  the  colors,  it  will  not  give  the  gloss 
that  pure  linseed  oil  will  give  to  the  painting. 
Too  much  gloss  is  undesirable  and  by  mixing  half 
of  the  oil  and  half  of  the  turpentine,  the  pro- 
portion will  give  the  correct  appearance  to  the 
painting  without  further  need  of  varnish.  Tur- 
pentine alone  would  give  a  mat  appearance  to 
the  colors  in  the  picture.  These  advices  will 
help  considerably  in  starting  students  toward 
better  work. 

As  I  have  mentioned  in  the  painting  with 
Water  colors,  students  should  have  their  subject 
well  drawn  on  the  canvas  before  beginning  the 
application  of  colors.  The  size,  movement,  the 
composition  o'f  the  group  must  be  well  under- 
stood and  drawn.  This  being  done,  half  of  the 
work  is  accomp'ished.  Begin  now  by  applying 
the  background,  and  next  paint  the  dark  flowers 

18 


CURRANT  SKETCH  BY  D.  M.  CAMPANA 


or  fruits  or  anything-  that  is  more  in  the  shade. 
These  dark  parts  of  the  picture  are  the  con- 
trolling spots  of  your  composition  and  follow 
up  from  dark  to  light  and  lighter  portion  of  the 
picture  until  you  have  the  whole  canvas  covered. 
This  first  application  does  not  signify  any  finish- 
ing of  any  part  of  the  canvas,  but  it  is  a  general 
covering  of  colors,  giving  you  a  temporary  idea 
of  the  general  color  effect  of  the  picture.  The 
details  will  come  later  when  you  have  found  a 
good,  harmonious  combination  of  colors.  If  you 
are  not  quite  versed  in  the  name  of  colors,  in 
their  mixtures,  in  the  technique  of  painting  in 
Oil,  you  will  find  all  details  given  in  the  book, 
"The  Teacher  of  Oil  Painting,5'  by  the  same 
writer,  as  this  present  book  dwells  more  in  mat- 
ter pertaining  to  painting  the  different  species 
of  Fruit  and  Flowers,  it  being  understood  that 
you  already  know  how  to  handle  the  colors  and 
the  brush.  A  list  of  Oil  colors  which  will  be 
sufficient  for  painting  Fruits  and  Flowers  in  gen- 
eral is  given  as  follows: 

Flake  White  Carmine  Lake 

Cobalt  Blue  Crimson  Lake 

Vermilion  Ivory  Black 

Raw  Sienna  Emerald  Green 

Burnt  Sienna  Cadmium  Yellow,  Dk. 

Vandyke  Brown  Prussian  Blue 

Chrome  Yellow,  Lt.        Naples  Yellow 
Chrome  Yellow,  Dk.       1  bottle  pale  linseed  oil 
A  list  of  Brushes,  is  as  follows: 
1/2  doz-  Bristle  Brushes   (Flat). 
Teach  No.  2,  No.  6,  No.   10,  No.   14,  No.   18 
and  No.  20. 

For  canvas:     You  may  use  cotton  canvas  for 

20 


sketching,  this*  being  sold  by  the  yard-  For 
better  work  you  may  use  linen  canvas  also  sold 
by  the  yard.  Canvas  mounted  boards  are  also 
very  useful  for  out-of-door  sketching.  Stretcher 
pieces  can  be  bought  and  canvas  tacked  on  by  the 
student.  A  palette  about  9x12,  an  oil  cup  and 
an  easel  will  complete  a  fair  outfit.  The  cost 
may  be  about  $6.00  for  brushes  and  colors,  $1.00 
for  one  yard  of  canvas  and  $3.00  for  the  easel. 
This  easel  is  not  always  necessary.  Any  stick 
can  be  used  for  leaning  your  arm.  A  complete 
catalog  showing  a  large  variety  of  materials 
used  by  students  and  artists  will  be  sent  free  of 
charge  by  writing  the  author  of  this  book. 


CHINA  PAINTING 

N  CHINA  PAINTING  you  use  colors 
which  are  manufactured  from  oxide, 
such  as  oxide  of  tin,  oxide  of  magnesia, 
oxide  of  cobalt,  etc.,  combined  with  such 
minerals  as  flint,  spar,  lead,  iron,  gold,  etc. 
These  colors  applied  over  the  white  surface  of 
the  China  will  cover  it  partly,  therefore,  colors 
used  for  China  painting  may  be  called  medium 
opaque. 

If  you  take,  for  instance,  a  SKY  BLUE  and 
apply  this  color  over  White  China  in  a  very  thin 
coating,  the  white  body  of  the  China  will  show 
through  your  color  and  will  give  a  delicate,  near- 
ly white  blue.  Should  you  use  the  same  blue  in 
a  thicker  coating,  the  china  body  will  not  show 
through  as  much  as  before  and  your  blue  will  be 
darker.  This  is  to  show  you  that  a  thin  coat  of 
china  color  will  give  you  a  light  tint,  and  a  thick 

21 


coating  of  the  same  color  will  give  you  a  dark 
tint.  It  is  the  accumulation  of  color  that  makes 
it  more  or  less  dark. 

Take  a  black  for  instance.  Apply  a  very  thin 
coating  of  this  shade  over  the  White  China. 
Your  color  will  appear  as  a  cold,  light  grey, 
while  if  you  use  the  same  black  in  a  thick  form, 
the  China  will  be  completely  covered  and  your 
effect  would  be  solid  black.  It  is  so  with  every 
color  in  China  Painting.  This  also  refers  to 
light  shades  reapplied  one  over  the  other.  This 
second  application  will  intensify  and  make  the 
color  darker. 

Take  now  a  Pink  tint.  By  using  a  very  thick 
color  of  ROSE  color  you  will  have  a  pretty,  deli- 
cate pink  tint.  Now  take  some  of  the  same  color 
and  touch  over  the  rose  with  the  same  shade 
just  as  thick  as  you  used  it  on  the  first  applica- 
tion and  these  two  coatings  will  give  you  a 
darker  tone,  because  the  color  is  thick  and  the 
china  more  heavily  covered.  I  hope  that  you 
may  understand  these  general  rules  and  that 
when  you  wish  to  have  dark  or  light  shades,  you 
may  know  by  which  means  to  obtain  them.  For 
instance,  when  the  color  is  thin,  the  shades  will 
be  light  and  when  the  color  is  thick,  the  shade 
will  be  dark.  This  rule  applies  only  to  such  a 
surface  as  White  porcelain  as  if  the  body  of  your 
china  is  dark,  your  light  shades  would  not  give 
you  the  same  effect  as  if  the  china  was  plain 
white.  The  conclusion  is,  fhat  colors  used  in 
china  painting  are  half  transparent  and  will  al- 
low the  background  to  show  through  the  color 
itself.  You  could  never  paint  a  Pink  Rose  over 
a  dark  brown  surface  because  the  brown  surface 

22 


of  the  vase  woujd  color  the  Pink  shades  applied 
over  it. 

Another  pecularity  of  China  painting  is  that 
the  colors  must  be  burnt  into  the  China  or  else 
they  will  rub  off.  This  burning  will  develop  the 
minerals  contained  in  the  colors,  making  them 
brilliant,  glossy  and  adherent. 

These  special  pigments  are  mixed  with  an  oil 
called  MIXING  MEDIUM.  All  China  colors  con- 
tain a  certain  quantity  of  calcined  lead  which 
during  the  process  of  burning  will  melt  and  pro- 
duce the  strong  gloss  noticed  on  all  china  decora- 
tion. This  is  the  general  idea  of  the  technique 
of  china  painting,  though,  of  course,  there  are  a 
good  many  tricks  and  a  good  many  things  to 
know  in  order  to  master  all  the  different 
branches. 

If  you  intend  to  become  proficient  in  this 
branch  of  Art,  you  should  either  take  a  few  les- 
sons or  consult  the  books  that  are  given  espec- 
ially to  the  technical  study  of  china  painting. 
The  book  called  the  "Teacher  of  China  Painting," 
by  this  writer,  treats  very  thoroughly  everything 
required  in  the  instruction  of  painting  porcelain. 
Write  him  for  prices. 

Comparing  Water  Color  painting  with  this  lat- 
ter branch,  you  will  find  that  they  do  not  vary 
very  much,  only  for  the  reason  that  one  of  them 
must  be  burned  in  order  to  carry  out  the  trans- 
parency of  the  colors,  otherwise  the  style  of 
painting  is  much  the  same  and  if  you  can  treat 
well  the  water  colors,  you  will  easily  treat  the 
china  colors.  High  lights  are  left  white  on  the 
China  and  are  also  left  white  on  the  paper  when 
painting  with  water  colors.  A  satisfactory  list 
of  colors  for  painting  Flowers  and  Fruits  on 

23 


China    is    shown    here.     Buy    colors    in    powder 
form : 

Ivory  Yellow  Rose  Color 

Lemon  Yellow  Ruby  Purple 

Egg  Yellow  Crimson  Purple 

Yellow  Green  Outling   Black 

Olive  Green  Best  Black 

Shading  Green  Yellow  Red 

Russian  Green  Dk.    Pompadour   Red 

Darkest  Green  Pearl  Gray 

Baby  Blue  Violet  Color 

Turquoise  Blue  Blood  Red 

Banding  Blue  Copenhagen  Gray 
Royal  Blue 

The  powder  color  purchased  in  small  quantity 
is  placed  on  a  glass  slab  and  a  small  quantity  of 
mixing  medium  poured  over  this  color.  Use  only 
enough  of  the  medium  to  give  a  thick  paste, 
and  with  your  palette  knife  mix  dow7n  the  two 
in  a  grinding  or  rubbing  way  until  they  are  a 
smooth  paste.  Set  it  on  the  corner  of  the  slab 
and  take  another  color  and  then  another,  always 
doing  the  same  mixing  with  your  palette  knife. 
When  you  have  enough  colors  mixed  for  your 
purpose,  begin  the  painting. 

Have  at  hand  a  small  receptacle  with  some 
clean  turpentine  to  clean  your  brushes;  have  a 
small  receptacle  with  a  few  drops  of  diluting 
medium  used  to  thin  the  colors  when  they  are 
too  thick;  have  your  brushes  in  good  shape  and 
begin  the  application  of  your  colors.  Of  course, 
you  must  have  a  fair  idea  of  your  design  drawn 
on  the  China  before  you  proceed  with  your 
painting.  The  drawing  can  be  done  with  a  wax 

24 


pencil  or  India  Ink  and  both  will  disappear  dur- 
ing the  firing.  Apply  your  colors  smoothly  and 
not  thick,  using  flat  brushes  called  Square  Shad- 
ers.  For  details  you  can  use  outliners. 

When  you  paint,  try  always  to  begin  by  paint- 
ing the  shadows  or  the  heavy  shades  of  the  sub- 
ject, and  when  you  have  those  shades  all  done, 
the  china  is  burned  and  the  colors  will  then  de- 
velop clear  and  glossy.  You  now  apply  the  gen- 
eral tint  all  over  the  flowers.  Yellow  if  the 
flower  is  yellow,  pink  if  the  flower  is  pink,  etc., 
and  you  cut  out  the  high  lights  needed.  You 
retouch  the  dark  shades  with  a  small  brush,  you 
detail  the  leaves,  and  burn  your  decoration  again. 

After  this  second  firing  your  decoration  should 
begin  to  look  cleaner  and  more  finished.  The 
background  may  be  now  applied  and  if  necessary 
a  third  retouching  and  detailing  of  the  flowers 
or  fruit  is  done.  Then  the  article  is  fired  for 
the  third  time.  Many  tricks  and  things  must  be 
learned  before  you  can  master  this  kind  of  work 
and  if  you  are  looking  for  a  thorough,  technical 
instruction  on  the  application  of  colors,  on  the 
quality  of  brushes,  on  the  method  of  firing,  etc. 
I  would  advise  you  to  consult  a  book  given  es- 
pecially to  this  general  technique  of  China  paint- 
ing. The  book,  "The  Teacher  of  China  Paint- 
ing," by  the  same  writer,  is  a  complete  text  in 
every  respect  on  this  subject. 

In  painting  Flowers  and  Fruits  on  China,  I 
advise  students  to  follow  the  fundamental  rules 
in  Art  and  make  their  work  as  decorative  as 
possible  and  subservient  to  the  special  shape  to 
be  decorated,  rather  than  trying  to  make  a 
prominent  and  out-of-place  design.  Remember 

25 


that  while  a  group  of  naturalistic  Flowers  and 
Fruits  will  look  good  on  a  flat  shape,  they  will 
he  out  of  place  on  a  round  vase,  or  on  a  round 
article.  Therefore,  paint  Flowers  and  Fruits  on 
plaques  or  tiles  and  you  will  show  your  apprecia- 
tion and  knowledge  of  fundamental  Art  and  will 
he  ahle  to  display  your  ahility  with  a  good  pur- 
pose. 

In  writing  on  the  fundamental  instructions  of 
Water  coloring  and  Oil  Color  painting,  I  have 
made  several  suggestions  on  the  form  of  Flowers 
and  leaves,  on  colors,  shapes,  forms,  etc.,  and 
these  preliminary  points  should  be  followed  in 
all  three  branches  of  painting.  Nature  is  al- 
ways the  same,  be  it  displayed  in  any  kind  of 
form  and  the  shape  and  peculiarities  of  Flowers 
and  Fruits  will  always  be  identical.  Draw  your 
subject  well  or  have  it  fully  in  mind  before  you 
apply  the  colors.  Also  it  will  be  wise  to  group 
your  subject  in  such  a  way  that  the  whole  pic- 
ture may  look  harmonious  and  decorative.  Well 
decorated  articles  show  knowledge  in  disposition 
of  lines  and  knowledge  in  disposition  of  masses 
of  colors  and  a  genuine  sense  of  harmony  in 
general. 

A  sufficient  outfit  of  materials  for  china  paint- 
ing comprises  the  list  of  colors  given  on  page  21 
plus  1  square  shader  No.  2,  1  No.  6,  1  No.  8,  1 
quill  liner  No.  2,  1  bottle  mixing  medium,  1 
knife — 21/>-inch  blade,  1  oz.  turpentine,  1  wax 
pencil.  The  whole  outfit  to  be  about  $4.50.  Com- 
plete catalog  showing  every  article  used  in  china, 
water  color  and  oil  color  painting  will  be  sent 
free  of  charge  by  writing  this  author. 


26 


BACKGROUND 
(Water  Color  Painting) 

OR  water  colors  I 
would  advise  you  to 
begin  from  the  light 

part  of  the  back- 
ground and  come  gradually 
to  the  very  darkest  shades. 
In  water  colors,  for  instance, 
you  could  use  a  very  watery 
tint  of  any  light  YELLOW 
you  may  have  at  hand  and 
come  down  further  by  add- 
ing to  that  color  a  trifle  of  DARK  CADMIUM  or 
perhaps  RAW  SIENNA.  If  you  are  painting  a 
landscape  picture,  your  background  will  be  the 
sky,  the  trees,  and  the  other  individual  parts 
composing  the  landscape,  and  you  will  use  the 
colors  accordingly ;  but  on  the  contrary,  if  you 
paint  a  picture  of  flowers  in  a  vase  or  in  a  dec- 
orative composition,  you  should  give  the  sub- 


27 


ject  a  background  that  is  more  effective  and 
harmonizing  with  the  flowers  themselves.  For 
instance,  dark  roses,  pink  roses,  chrysanthemums, 
or  any  flowers  with  a  clear,  bright  color,  will 
harmonize  well  surrounded  by  a  light  gray  back- 
ground, and  on  the  contrary,  white  flowers  would 
make  a  better  effect  when  painted  in  connection 
with  a  dark  gray  or  green  background. 

The  same  rule  answers  also  for  fruit  compo- 
sition. Use  plenty  of  color  in  your  brush,  that 
is,  have  plenty  of  the  liquid,  and  begin  from  the 
top  part  of  the  picture,  coming  down  quickly 
and  blending  your  colors  while  they  are  wet. 
To  be  ready  for  this  quick  tinting,  I  advise  you 
to  prepare  the  different  tints  in  different  saucers 
and  have  them  all  ready  at  hand.  You  will  then 
lose  no  time  in  making  the  needed  shades  when 
you  need  them  and  you  will  do  smoother  and 
more  perfect  work-  Taken  in  general,  it  is  far 
easier  to  make  a  light  background  than  a  dark 
one.  Further  down  you  may  add  a  trifle  of 
BURNT  SIENNA  and  still  further,  toward  the 
very  darkest  part,  you  may  use  VAN  DYKE 
BROWN.  This  background  will  be  warm  and 
pretty,  but  if  a  more  grayish  background  is  de- 
sired, you  could  use  a  very  watery  wash  of  CO- 
BALT BLUE  on  the  light  part  and  add  to  it 
more  and  more  of  the  PAYNES  GRAY  the  fur- 
ther down  you  come  until  you  have  it  very  dark. 
The  addition  of  a  small  quantity  of  EMERALD 
GREEN  will  make  very  pretty  shades. 

The  shadow  leaves  and  flowers  in  the  back- 
ground can  be  applied  when  the  background  is 
dried,  unless  you  wish  to  make  some  leaves  or 
flowers  very  light  in  the  background,  in  which 

28 


case  you  must  leave  the  space  WHITE  at  first 
and  paint  this  s'pace  afterwards.  In  all  back- 
grounds you  may  leave  small  spaces  untouched 
here  or  there,  which  small  spaces  would  suggest 
some  uncertain  things  or  high  lights.  You  will 
find  that  these  little  touches  here  and  there  in 
plain  WHITE  will  give  more  life  to  your  picture. 


BACKGROUND— (Oil  Painting) 

N  OIL  COLORS,  to  make  a  background 
you  could  use  COBALT  BLUE,  BLACK 
or  EMERALD  GREEN  mixed  with  a 
good  deal  of  WHITE.  These  three  colors 
wouM  be  very  pretty  for  a  GRAY  background. 
For  a  BROWN  BACKGROUND,  I  would  suggest 
the  VAN  DYKE  BROWN  for  the  very  darkest 
parts,  followed  by  BURNT  SIENNA  and  still 
further  with  the  addition  of  ORANGE  YELLOW 
and  still  further  a  LIGHT  CADMIUM  YELLOW 
mixed  with  WHITE.  Later  you  may  paint  again 
over  the  background,  but  this  can  be  done  when 
the  former  coating  is  thoroughly  dried. 

If  you  wish  to  make  a  good  and  effective  back- 
ground, you  should  try  to  make  it  very  smooth 
and  have  the  colors  blend  into  one  another  very 
gradually,  because  it  is  this  graduated  effect  of 
color  that  improves  the  subject  painted  in  the 
foreground.  If  you  had,  for  instance,  a  brown 
color  with  a  straight  abrupt  line  and  right  close 
to  it  a  green  color  also  ending  with  a  straight 
line  and  other  colors  applied  in  the  same  way, 
you  could  not  suggest  any  sky  effect  or  back- 
ground, but  if  these  three  or  four  colors  were 

29 


very  carefully  blended  into  one  another  so  that 
you  could  hardly  tell  where  one  starts  or  fin- 
ishes, then  you  would  have  a  very  pretty  effect. 
It  will  give  the  atmospheric  effect  to  your  paint- 
ing and  the  better  the  background,  the  more 
effective  will  be  the  general  appearance  of  the 
decoration. 

As  I  have  mentioned  ATMOSPHERE  I  must 
remind  you  that  in  order  to  have  an  easy  and 
light  effect,  the  decoration  must  not  be  hard  and 
solid  and  this  is  very  well  expressed  by  saying, 
that  you  must  have  atmosphere.  This  word 
means  distance,  softness,  life  and  harmonious 
colors. 


BACKGROUND— (China    Painting) 

N  PAINTING  flowers  or  fruits  for  dec- 
orative purposes,  you  will  find  that  they 
always  require  a  certain  background. 
This  will  enable  the  subject  in  the  fore- 
ground to  appear  soft  and  easy  and  to  blend  in- 
to the  air,  so  to  say.  The  background  is  noth- 
ing but  a  conventionalized  sky  where  flowers  and 
fruits  are  supposed  to  be  depicted.  In  a  good 
many  cases  the  background  can  be  of  the  color 
of  the  sky,  as  for  instance,  BLUE  or  DEEP 
BLUE  GREEN  very  delicate  and  smooth,  but  as 
in  a  good  many  cases  the  decoration  harmonizes 
better  with  a  different  color  in  the  background, 
this  BLUE  sky  is  changed  to  delicate  shades,  as 
for  instance,  IVORY  YELLOW  or  YELLOW 
BROWN  or  GRAY  or  GREEN,  etc.,  all  very 
well  padded  down  and  made  smooth.  To  make 

30 


the  effect  still  more  pleasing  you  can  apply  dif- 
ferent colors  in  the  background,  one  next  to  the 
other  and  perhaps  making  one  side  of  trie  decor- 
ation all  dark  by  using  such  a  dark  color  as 
FINISHING  BROWN  changed  into  HAIR 
BROWN  and  still  further  YELLOW  BROWN 
and  further  yet  IMPERIAL  IVORY  and  going 
toward  the  lightest  part  with  IVORY  YELLOW. 
This  effect  if  well  blended  together  will  be  very 
beautiful  and  effective  and  your  flowers  will  be 
well  connected  and  will  not  appear  loose  in  the 
air. 

If  the  effect  should  be  more  in  GRAY,  use 
COPENHAGEN  BLUE,  then  follow  this  dark 
color  with  COPENHAGEN  GRAY  and  further 
add  very  thin  DEEP  BLUE  GREEN.  Within 
this  background,  you  can  always  have  a  sugges- 
tion of  a  flower  or  fruit  represented  in  the  gen- 
eral decoration,  only  you  should  have  these  sub- 
jects very  flat  and  subdued,  because  if  they  are 
bright  in  color  or  if  they  have  too  much  detail, 
they  will  not  keep  their  place  in  the  background. 
Instead  they  will  come  forward  and  spoil  the 
effect. 

You  may  call  these  flowers,  shadow  flowers  or 
shadow  fruits  or  shadow  leaves  and  apply  them 
while  you  apply  the  background  or  else  on  the 
first  firing,  to  be  covered  up  with  the  background 
in  the  second  firing.  You  may  also  have  some 
suggestions  of  stemp  here  and  there,  because  if 
there  is,  no  stems  to  hold  your  subjects,  they 
will  appear  faulty  and  weak. 

Backgrounds  in  china  painting  are  generally 
applied  after  the  main  decorations  are  painted 
down,  as  decorators  can  then  more  easily  decide 

31 


which  color  to  use  for  this  background,  and  can 
see  which  tinting  harmonizes  with  the  main  sub- 
ject. Of  course  such  a  background  is  more 
easily  handled  if  the  subject  is  already  burned 
into  the  china,  but  if  you  are  careful  in  not  in- 
terfering with  the  fresh  decorations,  you  can 
apply  considerable  background  on  the  first  firing. 
As  I  have  mentioned  before,  attempt  to  make  a 
smooth  tinting,  padding  the  different  colors  one 
into  the  other  while  they  are  still  fresh,  and 
blend  over  the  edges  of  some  of  the  leaves, 
flowers  or  fruit,  as  the  case  may  be.  The  back- 
ground should  be  worked  so  that  you  can  not 
well  distinguish  where  one  color  starts  or  the 
other  finishes. 


COMPOSITION 

OOD  composition  implies  proper  arrange- 
ment of  dark  shades  or  spots  contained 
in  the  picture.  Do  not  have  a  very 
dark  effect  on  one  side,  unless  such  a 
dark  color  is  occasionally  represented  here  and 
there  to  counterbalance.  After  you  have  plan- 
ned your  design,  place  it  in  front  of  a  looking 
glass  and  see  if  it  looks  correct.  The  looking- 
glass  shows  your  design  reversed  and  you  can 
often  trace  mistakes  which  you  had  not  noticed 
while  working.  If  you  are  new  at  this  art,  I 
advise  you  to  copy  a  number  of  good  decorations 
and  become  acquainted  with  good  designs.  These 
successful  works  will  remain  in  your  memory 
and  guide  you  in  your  future  work.  You  acquire 
a  good  habit  thereby  and  derive  great  advantage. 

32 


COMPOSITION  in  a  WATER  COLOR  paint- 
ing or  OIL  COLOR  painting,  with  flowers  or 
fruit  as  subjects  is  fairly  easily  handled.  Such 
paintings  are  mostly  represented  vases  filled 
with  flowers  or  baskets  filled  with  fruit,  and  the 
important  task  is  to  place  those  fruit  and  flowers 
in  a  manner  that  may  be  natural  to  their  char- 
acter and  movement,  and  also  in  a  manner  that 
may  give  a  pleasant,  easy  appearance  to  the  pic- 
ture. Have  the  vase  a  little  out  of  the  center  of 
the  picture,  more  to  the  right  or  left,  this  being 
more  appropriate  from  composition  standpoint. 
See  also  that  the  lines  of  the  table  where  such 
vase  stands,  may  not  come  in  the  center  of  the 
picture,  but  have  it  either  higher  or  a  trifle 
lower.  Have  the  main  subject,  the  flowers  or 
fruit,  in  a  rather  solid  group  and  with  occas- 
sional  flowers  or  loose  fruit  spreading  out  to 
give  the  effect  of  carelessness.  There  is  noth- 
ing worse  than  a  picture,  showing  every  indi- 
vidual portion,  placed  just  so  distant  one  from 
the  other,  carefully  measured  and  stiff.  Attempt 
to  have  natural  effect.  As  for  the  background 
of  your  pictures,  I  am  of  opinion  that  light  back- 
grounds are  always  better  and  more  decorative. 
You  may  have  the  low  foreground  darker  than 
the  upper  part,  and  especially  if  your  painting 
represents  flowers,  a  delicate  gray  background 
will  help  the  effect  of  the  flowers. 

If  you  copy  a  good  study  or  perhaps  if  you 
have  several  studies  and  wish  to  copy  part  from 
one  and  part  from  another  so  as  to  compose  a 
certain  decoration,  you  should  follow  a  certain 
rule  of  disposing  these  flowers  or  fruit  to  the 

33 


very  best  advantage  and  also  according  to  the 
shape  of  the  picture  to  he  painted. 

Flowers  or  fruit  paintings,  in  a  loose  composi- 
tion such  as  a  ceiling,  a  screen,  a  curtain,  etc., 
where  you  try  to  reproduce  your  subject  in  a 
decorative,  airy  fashion,  composition  is  consid- 
erably more  difficult-  The  lightness  of  the  move- 
ment of  the  different  branches  and  stems,  the 
masses  of  colors  necessary  to  balance  your  pic- 
ture, the  blending  of  shades,  clouds,  etc.,  com- 
plicate matters  to  a  large  extent.  Have  always 
a  certain  group  at  the  lower  end  of  the  painting 
and  use  there  more  strength  of  color  and  place 
several  flowers  or  fruit,  as  the  case  may  be. 
Make  this  your  base.  Spread  out  your  back- 
ground in  a  cloudy  form,  and  arrange  several 
branches  from  the  main  group  outward.  Do 
not  have  them  straight  or  stiff.  Allow  your 
background  to  cover  part  of  those  branches, 
here  or  there-  Have  other  branches  running  in 
different  directions,  but  in  a  very  natural  sub- 
dued tone,  to  imitate  distance.  Have  on  the  op- 
posite side  of  your  main  group  a  certain  amount 
of  this  same  color  effect  to  counter-balance  the 
picture.  In  other  words,  a  composition  of  this 
kind  must  be  of  easy  lines  and  movement. 

Should  you  wash  to  decorate  a  piece  of  porce- 
lain, your  space  will  be  limited  and  the  shape  of 
the  china  will  also  be  relatively  limited.  If  you 
have  to  paint  a  water  color  or  oil  picture  you 
should  generally  have  an  oblong  or  square  space, 
which  is  easier  to  decorate.  But  for  the  china, 
which  sometimes  is  a  vase  with  a  round  shape 
and  where  your  decoration  must  run  around  that 
special  shape,  your  task  is  rather  difficult. 

34 


VIOLET  STUDY  BY  D.  M.  CAMPANA 


One  of  the  most  important  things  is  to  have  a 
simple  subject  as  consistent  with  the  size  of  the 
china.  Do  not  overcrowd  or  paint  flowers  and 
fruits  with  the  purpose  of  covering  all  of  the 
china  or  picture,  because  your  decoration  will 
look  heavy  and  undecorative.  For  instance,  if 
you  are  to  decorate  a  round  vase,  say,  for  in- 
stance, a  cylinder  vase  ten  inches  high,  I  would 
suggest  that  you  put  the  flowers  or  fruits  at 
about  four  inches  from  the  top,  because  you  then 
have  considerable  space  below  for  a  little  dis- 
play of  background.  For  instance,  if  your  sub- 
ject is  supposed  to  be  ROSES,  you  can  paint  two 
or  three  at  the  utmost,  the  roses  being  about 
the  size  of  a  fifty-cent  silver  piece.  Dispose 
them  one  near  to  the  other,  but  not  necessarily 
very  close,  leaving  some  occasional  space  be- 
tween them,  where  you  can  have  dark  touches 
to  help  you  in  carrying  out  the  effect. 

You  can  add  a  number  of  leaves  in  clusters  of 
three  or  five  and  these  leaves  should  be  rather 
small,  perhaps  the  size  of  a  five-cent  piece.  You 
can  put  one  of  these  clusters,  of  leaves  on  the 
upper  part  of  the  three  roses  and  two  or  three 
clusters  on  the  lower  part  and  moving  around  a 
little  further  on  the  vase,  you  may  add  one  or 
two  more  roses  with  one  or  two  more  clusters 
of  leaves  toward  the  back  of  your  main  iTroup. 
Here  you  paint  smaller  things,  such  as  buds  or 
perhaps  one  rose. 

Of  course,  all  these  roses  must  be  connected 
with  stems  which,  however,  should  be  very  deli- 
cate and  light.  Coming  down  from  the  main 
group  of  roses,  you  may  paint  one  small  rose 
below,  about  two  inches  from  the  bottom  and  a 

36 


stem  coming  from  the  main  group  curving  to- 
ward the  lower  roses.  You  must  be  certain  that 
these  stems  do  not  come  down  straight,  as  it 
will  make  a  very  bad  effect.  You  should  always 
have  leaves  here  and  there  and  if  you  dispose 
these  leaves  in  good  form  you  will  be  able  to 
make  a  pretty  composition  in  your  china. 

This  short  description  is  just  an  idea  of  how 
you  may  compose  a  certain  decoration  on  a  vase 
such  as  a  cylinder  vase.  By  placing  these 
flowers  higher  than  the  center,  your  decoration 
will  be  more  appropriate  than  if  you  placed  them 
at  the  center  and  divided  the  vase  in  two  halves. 
Of  course,  you  could  also  paint  them  at  a  lower 
part  of  the  vase  and  have  a  light  decoration  at 
the  upper  part. 

You  should  always  try  to  balance  the  effect  by 
having  the  main  decoration  at  one  side  and 
other  light  subjects  placed  here  and  there  so  as 
to  balance  the  composition-  Of  course,  the  same 
rule  is  to  be  followed  by  flowers  or  any  other 
kind  of  decoration. 

If  you  have  a  tall  vase  your  composition  should 
be  generally  on  flowers  or  fruits  that  have  long 
stems.  You  can  move  them  from  top  to  bottom 
or  from  bottom  to  top.  If  your  china  vases  are 
low  and  squatty,  you  may  use  a  flower  or  fruit 
with  a  short  stem,  but  do  not  fill  all  the  ground 
in  sight.  Have  some  space  for  a  considerable 
amount  of  background,  which  gives  the  atmos- 
phere to  the  whole. 

If  you  paint  Water  Color  paintings  or  Oil 
paintings,  your  scope  is  much  larger  and  you 
can  work  more  freely  because  the  surface  that 

37 


you  paint  is  flat  and  is  fully  embraced  by  the 
eye  when  you  loook  at  it. 

Good  composition  is  one  of  the  most  import- 
ant things  for  a  decorator  and  if  you  will  try  to 
be  simple  and  have  light  colors  you  will  have  a 
proper  idea  and  will  work  in  the  right  direction 
even  if  your  work  is  not  perfectly  correct. 

On  a  round  article,  such  as  a  plate  or  a  round 
picture,  the  main  decoration  should  be  placed  at 
one  side,  leaving  the  other  part  to  be  occupied 
by  the  background.  Background  does  the  func- 
tion of  sky  and  is  expected  to  add  air,  or  easi- 
ness, to  the  subject  represented. 


38 


FLOWERS 
AND    FRUIT 

HE   most   popular  flow- 
ers    among     students 
and  you  may  say  with 
the  public,  are:  Roses, 
Violets,    Forget-me-nots,    Wild 
Roses,  Apple  Blossoms,  Carna- 
tions, Lily  of  the  Valley,  Pop- 
pies,     Pansies,      Chrysanthe- 
mums, Daffodils,  Morning  Glories,  Daisies,  Nas- 
turtiums,  Snowballs,   Cornflowers,    Cherry   Blos- 
soms,   and    many    others.     Beginning    with    the 
Roses,  I  will  give  the  four  shades  mostly  painted, 
these  being  Pink  Rose,   Dark  Red   Rose,   called 
American  Beauty,   Yellow  Rose   and  the   White 
Rose.     Before   you   begin   to    paint   these   roses 
you  should  have  a  fair  idea  of  every  character- 
istic shape-     Some  of  the  roses  are  wide  poen, 
while  others  are  in  the  shape  of  a  bud  with  an 


39 


occasional    petal    at    the    side.      Others   are    in   a 

close  round  form  with  a  dark  center,  some  have 

a  good  many  petals  and  some  have  only  a  few. 

Pink  Roses — (Water  Color  Painting,) 

It  is  understood  that  a  perfect  drawing  of  the 
subject  must  he  had  before  the  application  of 
colors  begin.  To  paint  Pink  Roses  in  water  color, 
use  the  Carmine  Lake,  as  this  color  is  brilliant 
and  full  of  body,  also  much  preferable  to  the 
bright  shades  such  as  Saflowers,  Geranium  Lake 
or  such  very  bright  shades,  which  will  fade  when 
placed  in  the  light.  Paint  Pink  Roses  in  water 
color  much  like  you  would  paint  them  on  china, 
that  is,  by  beginning  at  the  center  and  by  ap- 
plying one  broad  shadow  on  one  side.  Gradu- 
ally you  paint  the  shadows  on  the  outer  petals 
and  when  these  parts  are  finished  you  can  wash 
over  the  delicate  Rose  tint  covering  the  whole 
rose,  but  the  high  lights  which  should  be  kept 
white. 

Near  the  attachment  of  the  petals  to  the  main 
body  of  the  rose,  there  is  always  a  delicate  shade 
of  Emerald  Green  very  light  or  Cadmium  Yellow 
light.  Of  course,  in  water  colors  it  is  necessary 
to  finish  up  your  flower  as  you  are  working  at 
it  and  as  the  color  dries  quickly  it  will  be  easy 
for  the  student  to  retouch  and  strengthen  the 
shades  if  they  appear  to  be  a  little  too  light. 

Dark  Red  Roses — (Water  Color  Painting) 

A  very  satisfactory  color  for  Dark  Red  Roses 
in  water  color  painting  is  Crimson  Lake  and  this 
color  will  give  a  very  deep  tone.  As  a  general 
rule  you  should  begin  to  apply  the  darkest  parts 
at  the  center  and  the  shades  of  the  different 
petals.  When  this  dark  shading  is  completed, 
you  can  tint  over  the  whole  rose  with  a  medium- 

40 


heavy  wash  of  -  Carmine  Lake.  You  may,  of 
course,  leave  out  a  few  high  lights,  especially 
around  the  edges  of  the  petals,  to  make  the 
flower  more  crisp. 

Should  you  desire  to  have  a  trifle  of  very  dark 
tone  you  may  add  to  the  Crimson  Lake  a  trifle 
of  Paynes'  Grey  or  Ivory  Black. 

Yellow  Roses — (Water  Color  Painting) 

To  paint  Yellow  Roses  in  water  colors  I  would 
advise  you  to  use  the  Raw  Sienna  for  the  shad- 
ing and  Dark  Cadmium  Yellow  for  the  central 
touches  and  also  for  some  of  the  transparencies 
near  the  attachment  of  the  petals.  Of  course, 
some  of  the  Yellow  Roses  can  be  painted  by  us- 
ing a  pale  thin  coating  of  color,  but  there  are 
also  Yellow  Roses  that  are  painted  with  bright 
colors,  especially  if  you  need  a  little  bright  effect 
for  your  picture. 

White   Roses — (Water   Color   Painting) 

White  Roses  in  water  color  painting  must  be 
treated  very  carefully,  because  if  you  use  too 
much  of  the  Grey  for  the  shading,  the  rose  will 
look  black  and  bad.  A  very  small  touch  of 
Paynes'  Grey  will  be  a  good  color  for  the  delicate 
shades  and  in  some  of  the  cooler  tones,  a  trifle 
of  Emerald  Green  will  be  very  proper. 

The  center  of  the  White  Rose  being  a  trifle 
warmer  than  the  general  color  in  the  rose,  should 
be  painted  with  a  very  little  quantity  of  Car- 
mine or  perhaps  of  the  Dark  Cadmium  Yellow. 

The  general  rule  for  painting  roses  in  water 
color  must  be  altered  if  necessary  to  conform 
with  the  general  effect  of  the  picture,  as  for  in- 
stance, if  the  picture  requires  your  roses  to  be 
more  delicate  or  more  in  the  light  coloring,  you 
should  use  your  judgment  and  change  the  color 
accordingly. 

41 


Be   certain   and    use    plenty    of    color    in    your 
brush  and  apply  such  a  color  in  a  broad  snappy 
way,  because   flowers  are   very  airy   and   should 
be  reproduced  as  lightly  as  possible. 
Roses — (Oil  Painting) 

We  wish  to  give  also  a  general  list  of  colors 
used  for  the  painting  of  roses  in  oil  painting. 
Of  course,  in  oil  painting  you  will  have  the  ad- 
vantage of  applying  color  over  color  without 
spoiling  the  picture,  a  thing  you  cannot  do  in 
water  color  painting.  For  instance,  if  your  color 
is  too  light,  you  can  paint  over  it  and  make  such 
colors  dark,  also  a  dark  color  can  be  ma'de  light 
simply  by  covering  this  dark  color  with  a  lighter 
one. 

For  Pink  Roses  we  would  use  the  Carmine 
mixed  with  the  Flake  White  to  suit  your  pur- 
pose. Of  course,  the  more  the  WHITE  the 
lighter  will  be  the  color. 

For  Dark  Roses,  the  CRIMSON  LAKE  is  a 
very  good  color  and  this  can  also  be  reduced  to 
suit  your  purpose  by  adding  to  it  a  trifle  of 
WHITE  or  a  trifle  of  IVORY  BLACK  if  a  dark- 
er tone  is  needed. 

For  Yellow  Roses  the  Raw  Sienna  for  the 
shading,  mixed  with  a  trifle  of  Chrome  Yellow 
Light  and  a  little  White.  For  the  center  of  the 
rose  Chrome  Orange  will  be  a  very  effective 
color. 

For  White  Roses  in  Oil  color  a  very  small 
touch  of  Ivory  Black  mixed  with  White  will  do 
very  well  for  the  shading  and  a  trifle  of  Carmine 
or  a  trifle  of  Orange  as  used  on  the  Yellow  Rose 
for  the  center. 

These  general  colors  are  no  doubt  the  best  and 
you  may  use  your  judgment  by  adding  a  trifle 

42 


of  some  other  shades  (if  you  do  not  have  these 
special  colors  at  hand)  or  if  the  general  color  of 
the  picture  requires  some  changes  of  this  effect. 

Pink  Roses — (China  Painting) 

If  you  wish  to  paint  a  Pink  Rose  on  china  I 
would  advise  you  to  use  ROSE  COLOR  entirely. 
With  your  brush  draw  an  approximate  size  of 
the  rose  made  in  few  lines,  as  if  you  would  want 
to  outline  it.  When  you  have  the  size  of  the 
rose  you  may  apply  the  center  and  a  big  large 
shadow  on  one  side  of  the  rose,  also  some  of  the 
big  petals  and  the  twisted  petals  that  cross  over 
the  roses  at  the  body. 

The  small  illustration  (page  69)  will  give  you 
a  little  idea  of  how  roses  are  started  and  carried 
out-  Do  not  use  the  color  lumpy,  as  the  ROSE 
COLOR  or  PINKS  used  for  roses  are  of  a  pe- 
culiar nature  and  are  liable  to  fire  a  trifle  matt 
if  applied  too  heavy. 

In  painting  not  only  roses  but  almost  any  sub- 
ject, on  china,  remember  that  you  should  not 
attempt  to  finish  it  in  one  application,  but  that 
you  still  have  another  firing  or  two  in  which  you 
can  strengthen  your  subject  and  apply  more 
colors.  On  the  second  firing  you  can  retouch 
the  center  of  the  rose  with  some  of  the  Rose 
Color  used  before  and  shade  all  over  the  rose 
with  a  very  thin  coating  of  this  tint.  It  is  a 
bad  taste  to  mix  your  ROSE  COLOR  with  any 
other  Grey  or  Blue.  Try  to  keep  it  clean,  because 
pink  roses  are  very  clear  and  should  be  painted 
with  clear  colors.  Should  you  wish  to  have  the 
center  of  the  rose  a  trifle  darker,  you  may  use  a 
small  quantity  of  American  Beauty  Color  which 
is  a  shade  darker  than  the  Rose  Color.  By  all 
means  have  thin  washes  of  these  colors  in  order 

43 


to  prevent  any  roughness  of  the  color  or  chip- 
ping off. 

The  details  of  the  rose  should  always  be  ap- 
plied on  the  end  with  a  small  lining  brush. 
Other  colors  used  for  Rose  Painting  are"  PEACH 
BLOSSOM,  SWEET  PEA  PINK,  all  of  which  are 
used  for  pink  roses  and  require  a  stronger  firing 
than  some  of  the  other  shades.  It  is  also  ad- 
visable to  fire  roses  on  the  very  back  part  of  the 
kiln  where  the  firing  is  the  strongest  and  where 
they  can  receive  a  strong  heat.  A  badly  fired 
pink  rose  will  appear  matt,  the  color  being  not 
properly  developed. 

American   Beauty  Roses — (China  Painting) 

The  American  Beauty  Roses  are  properly 
painted  with  Ruby  Purple  No.  2  or  Crimson 
Purple.  We  would  rather  have  the  Ruby  Purple 
No.  2  because  it  is  more  solid  and  brilliant.  In 
painting  roses  of  any  kind  always  start  from  the 
center,  as  the  center  shows  the  strongest  shad- 
ows and  this  point  should,  therefore,  be  the  be- 
ginning of  the  rose.  When  you  have  the  center 
applied,  apply  the  shadow  on  one  side  of  the 
rose,  and  also  some  of  the  large  petals-  Use 
this  first  color  application  medium-heavy  and 
leave  a  good  deal  of  the  light  part  of  the  rose 
plain  white,  as  this  white  part  will  be  shaded  in 
on  the  second  firing.  For  instance,  if  on  the 
first  firing  you  apply  all  the  shadows  and  have 
the  opposite  side  of  the  rose  white,  on  the  second 
firing  you  can  paint  over  the  whole  with  a  wash 
of  American  Beauty  color  covering  every  part 
of  the  rose.  The  darker  parts  painted  on  the 
first  firing,  will  show  very  nicely. 

Of  course,  if  you  cannot  finish  up  the  rose  in 
two  firings  you  can  retouch  it  for  the  third  time, 

44 


using  the  Ruby  Purple  No.  2.  Should  you  de- 
sire to  add  a  trifle  of  the  Black  to  your  Ruby 
Purple,  use  Purple  Black  rather  than  any  other 
color,  as  this  Black  mixes  very  well  with  the 
Purple  and  Ruby.  If  this  special  color  is  not  at 
hand,  use  the  Darkest  Green. 

In  painting  roses,  always  have  a  crisp,  sharp 
touch,  because  flowers  by  themselves  are  crisp 
and  light  and  the  handling  of  your  brush  has  a 
good  deal  to  do  in  making  the  roses  airy.  De- 
tails come  at  the  end  and  are  applied  with  a 
small  pointed  liner. 

Yellow  Roses — (China  Painting) 

Using  the  same  method  of  painting  Yellow 
Roses  as  we  did  with  Pink  Roses  and  American 
Beauty  Roses,  we  will  apply  the  darkest  parts 
first.  For  the  center  of  the  Yellow  Rose  you 
may  use  Yellow  Brown,  clean  and  pure.  For  the 
center  of  the  Yellow  Rose  you  may  use  Yellow 
Brown,  clean  and  pure.  For  the  shadows  around 
the  rose  and  on  the  petals  you  can  use  a  wash 
of  Brown  Green  mixed  with  one-third  Yellow 
Brown  but  be  certain  not  to  apply  these  shadows 
too  heavy.  Work  around  with  care  and  leave 
the  flat  part  of  the  rose  plain  white. 

On  the  second  firing  you  can  wash  over  the 
whole  rose  with  a  delicate  wash  of  Lemon  Yel- 
low or,  if  you  prefer  a  little  warmer  color,  you 
may  use  Egg  Yellow.  You  may  again  retouch 
the  center  of  the  Yellow  Brown  as  you  did  be- 
fore. Apply  the  small  touches  with  a  small 
brush,  using  the  mixture  of  Brown  Green  and 
Yellow  Brown,  and  if  you  have  any  reflected 
light  at  the  petals  use  Egg  Yellow. 

White  Roses — (China  Painting) 

The  White  Roses  are  generally  painted   with 

45 


pink  centers  or  sometimes  with  a  Yellow  Center 
and  these  shades  at  the  center  of  the  rose  will 
look  pretty  and  decorative.  You,  therefore, 
should  apply  the  center  either  by  using  Rose 
Color  rather  thin  or  thin  touches  of  the  Egg 
Yellow.  For  the  shadow  at  one  side  of  the  rose 
and  at  the  outer  petals,  you  may  use  Copenhagen 
Grey.  The  light  part  of  the  rose  should  be  kept 
white  not  only  on  the  first  firing  but  also  on  the 
second  firing  and  perhaps,  if  you  need  a  little  bit 
of  tinting  to  alter  the  monotony,  you  may  add 
here  and  there  a  little  touch  of  Rose  Color. 

Violets — (Water  Color  Painting) 

To  make  a  good  violet  color  in  water  color 
painting  you  could  mix  the  COBALT  BLUE  with 
a  trifle  of  CARMINE  or  if  you  do  not  have  this 
color,  with  CRIMSON  LAKE  or  any  similar 
color.  NEW  BLUE  is  also  a  fair  color  instead  of 
COBALT  BLUE  and  RUSSIAN  BLUE  will  also 
be  good,  only  much  darker.  You  may  be  able  to 
purchase  a  MAUVE  COLOR  and  this  would  make 
a  very  good  violet  shade-  These  colors  would  be 
proper  for  both  single  and  double  violets. 

In  the  center  of  the  single  violets  a  touch  of 
DARK  CADMIUM  YELLOW  will  be  very  proper. 
For  the  center  of  the  double  violets  a  small 
touch  of  EMERALD  GREEN  will  be  very  effec- 
tive. Apply  the  petals  of  the  single  violets  in 
one  flat  touch  of  color.  Be  sure  that  your  brush 
is  full  of  the  color  and  do  not  tamper  with  it. 
Apply  the  two  top  petals  in  two  touches  and  the 
three  lower  ones  in  three  touches,  leaving  the 
small  center  plain  white.  You  may  put  the 
small  dark  spots  when  the  first  coating  is  dried. 

On  the  double  violets  you  may  use  your  brush 
in  a  round  fashion,  and  working  it  toward  the 

46 


center,    suggesting    many    petals.     Small    details 

will  be  applied  when  the  first  coating  is   dried. 

Violets— (Oil  Painting) 

COBALT  BLUE  mixed  with  a  trifle  of  CAR- 
MINE or  CRIMSON  LAKE  will  make  a  very 
deep  Violet  tone  for  the  Violets  and  if  you  add 
to  it  a  trifle  of  WHITE  you  will  have  a  very 
pretty  shade.  As  we  mentioned  also  in  the  paint- 
ing of  Roses,  the  White  color  is  nearly  always 
mixed  with  the  varied  shades  used,  as  this  is  the 
only  method  for  making  lighter  shades.  Use 
the  same  color  for  single  or  double  violets,  add- 
ing more  or  less  Carmine  and  Blue  or  White,  as 
you  may  need. 

For  the  center  of  Single  Violets  use  a  trifle  of 
Chrome  Orange  and  for  Double  Violets  a  trifle 
of  Emerald  Green  mixed  with  White. 

Violets — (China  Painting) 

A  good  color  for  the  painting  of  Violets  in 
china  decoration  is  the  VIOLET  COLOR  No.  2, 
as  I  think  this  color  is  a  rather  bluish  and  makes 
a  very  proper  shade  for  this  pretty  flower-  If 
you  should  desire  to  paint  this  flower  with  a 
slightly  purplish  shade,  you  could  use  VIOLET 
COLOR.  If  you  do  not  have  any  of  the  VIOLET 
COLORS,  mix  the  BANDING  BLUE  with  one- 
fourth  of  RUBY  PURPLE  No.  2  and  this  mix- 
ture will  give  you  a  very  satisfactory  Violet 
shade  with  which  to  paint  the  violets. 

I  think  that  you  could  use  this  color  both  for 
single  or  double  violets.  You  will  notice  that  all 
single  violets  have  five  petals  and  if  you  use  a 
good  sized  square  shader  you  should  be  able  to 
paint  every  petal  with  one  single  touch.  We 
have  mentioned  in  the  chapter  on  Roses  that  the 
handling  of  the  brush  will  make  the  flower  easy, 

47 


proper  and  delicate,  and  also  in  the  painting  of 
Violets  if  you  can  make  every  petal  with  one 
broad  touch,  you  will  be  surprised  of  the  effect 
that  you  attain  from  the  simple  handling  of  the 
brush. 

In  painting  Violets  apply  a  flat  tint  very  much 
alike  on  all  petals  and  on  the  second  firing  you 
can  always  shade  the  lower  center  petals  and 
apply  the  little  dark  lines  below  the  small  seed  at 
the  center.  Of  course,  you  must  cut  out  the 
small  central  space,  where  the  color  should  be 
placed  later,  using  Egg  Yellow  or  a  thin  Yellow 
Brown  tint. 

The  Double  Violets  you  may  paint  with  a 
broad  flat  coating  by  using  several  strokes  of  the 
brush,  moving  the  brush  always  toward  the  cen- 
ter and  you  will  in  this  way  produce  a  good 
effect  of  the  Double  Violets.  In  the  center  apply 
a  delicate  wash  of  Apple  Green  and  while  the 
color  is  wet  you  can  cut  out  a  few  high  lights 
on  the  VIOLET  COLOR  and  also  on  the  APPLE 
GREEN  center. 

Details  should  be  applied  on  the  second  firing 
and  by  repeating  the  colors  as  used  before.  If 
you  wish  to  make  a  heavy  color  you  may  add  to 
your  violet  tint  a  very  small  quantity  of  PUR- 
PLE BLACK,  as  this  color  mixes  very  nicely 
with  all  Purples  and  Violet  tones. 

Forget-me-nots — ('China  Painting) 

Forget-me-nots  are  flowers  very  much  used 
for  china  decorations,  as  this  peculiar  pretty 
color  makes  also  a  very  quick  saleable  decorated 
china.  Forget-me-nots,  like  Roses  and  Violets, 
depend  entirely  on  the  touches  of  the  brush  and 
you  should  use  for  this  flower  a  medium  sized 

48 


pointed  brush   large  enough   to   paint   one   petal 
for  every  touch." 

Use  DEEP  BLUE  GREEN  for  Forget-me-nots 
and  if  this  is  not  at  hand,  you  may  use  the 
TURQUOISE  BLUE.  Apply  the  flower  in  a  flat 
five  small  touches,  leaving  the  center  plain  white. 
The  darker  shading  of  the  flower  you  can  apply 
later  on  the  second  firing.  The  center  of  the 
Forget-me-not  is  in  a  thin  touch  of  EGG  YEL- 
LOW and  one  small  point  of  CARNATION  or 
YELLOW  RED  No.  2  in  the  center. 

In  painting  this  delicate  flower  you  should  not 
attempt  to  overwork  them,  but  apply  your  colors 
in  a  crisp,  easy  way  and  you  will  be  more  certain 
of  making  a  flower  which  will  be  more  decora- 
tive and  pretty. 

Forget-me-nots — (Water  Color  Painting,) 

Cobalt  Blue  makes  a  very  pretty  color  for  the 
painting  of  Forget-me-nots  in  water  color.  If 
you  do  not  have  this  color  NEW  BLUE  or  even 
RUSSIAN  BLUE,  but  I  would  suggest  the  first 
two  colors  if  you  can  find  them.  Apply  the 
flower  in  a  flat  touch,  using  one  touch  for  every 
petal  and  when  the  first  tinting  is  finished  and 
dried  you  can  always  apply  the  darker  shadings. 
Use  the  color  well  diluted  with  water  to  pro- 
duce the  proper  shade. 

Be  certain  and  leave  the  center  plain  white,  as 
this  center  will  be  covered  afterward  with  a  small 
touch  of  any  light  Yellow  and  one  point  in  the 
center  with  any  Red  you  may  have  at  hand. 
Forget-me-nots — (Oil  Painting) 

In  Oil  painting  FLAKE  WHITE  or  any  good 
white  mixed  with  a  trifle  of  COBALT  BLUE 
will  give  the  proper  color  for  Forget-me-nots.  By 
adding  more  blue  to  the  white  you  will  make  the 

49 


color  darker  and  darker.  The  center  will  be  in 
white  mixed  with  Yellow,  with  a  small  point  in 
any  Red  you  may  have  at  hand,  in  the  center. 
If  you  don't  have  Cobalt  Blue  use  New  Blue  or 
Permanent  Blue. 

Use  a  small,  flat  Russian  sable  brush,  and  do 
not  overwork  the  flowers,  least  they  become 
clumsy  and  undecorative. 

Wild  Roses — (China  Painting) 

Wild  Roses  belong  to  the  family  of  other 
roses,  only  their  shape  is  lighter  and  simplified. 
This  flower  has  generally  five  petals  which  should 
be  painted  in  a  very  simple  manner  with  as  few 
touches  as  possible. 

I  would  advise  you  to  paint  on  at  first  the 
shadows  of  the  flowers,  using  ROSE  COLOR  or 
if  this  color  is  not  at  hand  with  PEACH  BLOS- 
SOM. Use  a  large  brush  for  this  purpose  and 
apply  in  large,  smooth  touches,  leaving  some  of 
the  high  lights  plain  white. 

On  the  second  firing  you  will  be  able  to  cover 
all  the  rose  and  the  shadows  underneath  will 
show  the  shape  of  the  rose  very  nicely.  The 
center  is  made  in  BROWN  GREEN  and  will  be 
worked  out  with  a  small  pointed  brush  applying 
small  round  touches  for  every  one  of  the  little 
seeds  which  make  a  cup-like  shape  in  the  center 
of  the  rose. 

On  the  second  firing  you  can  wash  all  over 
this  central  cup  a  thin  wash  of  ALBERT  YEL- 
LOW or  MOSS  GREEN.  If  you  paint  several 
of  the  wild  roses  in  a  cluster,  you  may  have  one 
a  trifle  darker  than  the  others  just  to  give  a 
better  color  effect.  Any  small  details  or  touches 
should  be  applied  with  a  small  pointed  brush. 

50 


Wild   Rose — (Water    Color   Painting) 

For  water  color,  painting,  a  proper  color  to  be 
used  in  wild  roses  would  be  CARMINE  LAKE. 
Of  course,  there  are  other  colors  very  brilliant 
and  also  good,  but  those  are  more  expensive  and 
CARMINE  LAKE  would  be  satisfactory  in  every 
respect. 

Have  your  brush  full  of  color  and  see  that  the 
color  is  very  light  because  wild  roses  are  of  a 
very  delicate  pink  tone.  Apply  the  roses  by 
using  large  touches  and  leave  occasional  high 
lights  here  and  there  to  give  crispness  to  the 
effect. 

When  the  first  tint  is  dried  you  may  add  some 
of  the  darker  shades.  The  seeds  in  the  center 
are  painted  with  a  small  brush  by  using  IN- 
DIAN YELLOW,  perhaps  mixed  with  a  trifle  of 
HOOKER'S  GREEN.  Apply  more  or  less  of  the 
yellow  as  you  may  find  necessary. 

Wild  Roses — (Oil  Painting) 

The  CARMINE  LAKE  will  be  a  good  color 
also  in  oil  painting,  provided  you  mix  it  with  a 
considerable  quantity  of  FLAKE  WHITE.  If 
the  color  is  not  brilliant  enough  for  your  pur- 
pose you  may  add  a  trifle  of  VERMILION  RED. 

The  shadows  are  made  simply  by  using  more 
of  the  CARMINE  or  less  of  the  WHITE.  The 
center  seeds  are  painted  also  with  a  small  brush 
and  you  may  use  a  trifle  of  RAW  SIENNA  with 
a  small  quantiy  of  WHITE  and  of  any  GREEN 
that  you  may  have  at  hand. 

Apple  Blossoms — (China  Painting) 

The  best  method  of  painting  Apple  Blossoms 
with  china  colors  will  be  to  apply  a  very  delicate 
shade  of  GREY  such,  as  for  instance,  COPEN- 
HAGEN GREY  or  perhaps  ASHES  of  HOSES 

51 


and  cover  the  whole  flower  very  smootrily  and 
then  with  a  dry  brush  cut  out  the  high  lights. 
Of  course,  you  may  apply  the  shadows  direct, 
leaving  the  high  lights  plain  white  on  the  china 
as  I  have  taught  you  in  the  painting  of  roses, 
etc.,  but  if  you  are  acquainted  with  this  method 
of  cutting  out  the  high  lights  you  will  find  this 
to  be  a  very  effective  method. 

The  small  seeds  in  the  center  are  painted  in 
Egg  Yellow.  When  you  have  fired  this  delicate 
shade  of  grey,  you  may  wash  all  over  the  flower 
a  very  thin  coating  of  ROSE  COLOR  or  PEACH 
BLOSSOM  and  be  certain  to  apply  this  thin  coat- 
ing very  smoothly.  You  will  have  a  pretty  effect 
and  very  soft  indeed. 

Of  course,  you  may  use  the  ROSE  COLOR  in 
the  first  firing  instead  of  the  COPENHAGEN 
GREY,  but  this  later  color  will  make  a  far  bet- 
ter effect.  Some  of  the  buds  may  be  covered 
with  a  trifle  of  AMERICAN  BEAUTY  COLOR 
or  perhaps  RUBY  PURPLE.  Apply  the  details 
with  a  small  brush,  using  either  AMERICAN 
BEAUTY  COLOR  or  RUBY  PURPLE. 

Apple    Blossoms — (Water    Color    Painting) 

The  CARMINE  LAKE  will  make  a  very  pretty 
shade  for  apple  blossoms  in  water  color  paint- 
ing. I  would  suggest  that  you  apply  the  shad- 
ows of  the  flower  with  a  very  thin  touch  of 
CARMINE  LAKE  and  leave  the  high  lights 
plain  white. 

For  the  seeds  in  the  center  you  can  use  IN- 
DIAN YELLOW  and  for  the  heavier  touches  in 
the  buds  you  can  use  the  CARMINE  only  a 
trifle  heavier.  When  we  mention  a  thin  coating 
of  any  color,  the  student  should  understand 
that  the  thin  coating  in  water  color  painting  is 

52 


only  made  by  mixing  the  color  with  more  water. 
The  more  water"  the  thinner  will  be  the  coating. 
All  details  of  the  flower  should  be  applied  at  the 
end  with  a  small  brush. 

Apple  Blossoms — (Oil  Painting) 
FLAKE  WHITE  with  a  very  small  quantity 
of  CARMINE  LAKE  will  also  make  a  very  pretty 
color  for  this  delicate  flower.  You  may  apply  a 
general  coating  all  over  the  flower  and  by  adding 
more  WHITE  to  the  color  you  can  apply  the  high 
lights  at  the  end. 


The  seeds  in  the  center  are  in  DARK  CHROME 

53 


YELLOW  or  DARK  CADMIUM  YELLOW.  Of 
course,  some  colors  may  be  changed  a  little  as  if 
you  did  not  have  exactly  the  same  colors  that  I 
mention  in  this  lesson  you  should  substitute  as 
close  to  those  shades  as  you  possibly  can- 
Carnations — (China  Painting) 

There  is  a  very  large  variety  of  Carnations, 
some  being  White,  some  being  Red,  some  being 
Pink,  some  being  Yellow,  some  Purple  and  some 
are  covered  with  many  delicate  lines.  The  very 
best  method  in  china  painting  will  be  the  cover- 
ing of  the  flowers  with  a  flat,  general  color  and 
cutting  out  afterwards  (while  the  color  is  still 
wet),  the  different  petals.  For  white  carnations 
I  would  advise  the  COPENHAGEN  GREY,  for 
red  carnations  the  CARNATION  RED,  for  pink 
carnations  the  PEACH  BLOSSOM,  for  purple 
carnations  the  RUBY  PURPLE  No.  2,  for  yel- 
low carnations  the  FLESH  SHADOW,  very  thin. 

When  the  petals  are  carefully  cut  out  you  may 
fire  your  china  and  wash  over  them  on  the  sec- 
ond firing  a  very  thin  tint  of  either  RED,  PINK 
or  LEMON  YELLOW,  according  to  the  special 
color  of  the  flowers.  Have  a  few  clean  WHITE 
highlights. 

Carnations — f  Water  Color  Painting) 

In  water  color  painting  you  must  apply  the 
delicate  petals  of  the  carnation  without  covering 
the  high  lights.  Do  not  use  a  very  large  brush, 
as  there  are  very  many  small  touches.  For 
white  carnations  you  may  use  a  very  thin  coat- 
ing of  PAYNES  GREY,  for  pink  carnations  you 
may  use  a  light  coating  of  CARMINE  LAKE, 
for  red  carnations  you  may  use  FRENCH  VER- 
MILION, for  purple  carnations  you  may  use 
CRIMSON  LAKE  and  for  yellow  carnations 

54 


DARK  CADMIUM  YELLOW  shaded  down  with 
a  trifle  of  RAW  SIENNA. 

Carnations — (Oil    Painting) 

In  oil  painting  you  will  paint  these  flowers 
with  a  small  brush  and  the  touches  applied  so 
that  every  touch  will  be  one  petal.  Start  from 
the  outside  petal  and  come  toward  the  center. 
For  white  carnations  use  WHITE  mixed  with  a 
small  quantity  of  IVORY  BLACK  and  COBALT 
BLUE.  For  the  pink  carnation  use  CARMINE 
LAKE  and  WHITE,  more  or  less  of  the  WHITE, 
according  to  the  case.  For  purple  carnations 
use  CRIMSON  LAKE  and  add  to  it  a  trifle  of 
WHITE  if  necessary.  For  red  carnations  1 
would  advise  you  to  use  the  VERMILION,  which 
can  be  mixed  with  a  trifle  of  CRIMSON  LAKE 
for  dark  touches.  For  yellow  carnations  you 
may  use  DARK  CADMIUM  YELLOW,  LIGHT 
CADMIUM  YELLOW  and  WHITE  according  to 
the  shade  desired. 

In  all  cases  apply  the  small  details  and  high 
lights  on  the  very  end  with  a  small  brush. 

Lily  of  the  Valley  and  Narcissus — (China 
Painting,) 

Both  Lily  of  the  Valley  and  Narcissus  are  del- 
icate white  flowers  for  which  I  will  give  only 
one  rule  of  colors  because  both  of  them  can  be 
painted  with  the  very  same  colors.  Such  a  deli- 
cate flower  as  these  two  are  very  easily  spoiled 
if  they  are  painted  with  too  much  color  and 
therefore,  I  instruct  you  to  use  your  shading 
very  sparingly  and  leave  a  good  many  high  lights. 

The  delicate  shading  is  made  with  COPEN- 
HAGEN GREY  used  very  thin  and  be  certain  to 
leave  high  lights  on  one  side  and  have  your 
shadows  on  the  other  side  of  the  flower.  There 

55 


is  a  delicate  YELLOW  TONE  in  the  center  of 
the  flower  which  can  be  applied  on  the  second 
firing,  but  on  the  Narcissus  this  YELLOW  TONE 
should  be  a  trifle  darker  than  in  the  lily  of  the 
valley.  In  fact,  the  small  cup  in  the  center  of 
the  narcissus  has  sometimes  a  hue  of  LEMON 
YELLOW.  For  the  center  of  the  lily  of  the 
valley  you  may  use  also  LEMON  YELLOW  but 
very  thin. 

Apply  the  shadows  with  COPENHAGEN 
GREY  and  the  small  details  with  the  same  color 
only  by  using  a  small  liner.  On  the  second  fir- 
ing you  may  use  the  same  color  applied  with  a 
small  brush. 

Eily  of  the  Valley  and  .Narcissus — 
(Water  Color  Painting) 

For  water  color  painting  I  would  advise  you 
to  use  a  very  thin  coating  of  PAYNES  GREY 
mixed  with  a  trifle  of  EMERALD  GREEN  to  be 
used  for  the  shading  of  the  Lily  of  the  Valley 
and  Narcissus.  Apply  the  delicate  shading  with 
a  very  quick  and  accurate  touch  and  be  careful 
that  you  do  not  apply  too  much  color  which 
would  make  the  flower  very  heavy  and  bad.  Use 
a  small  brush  for  the  details  and  use  CADMIUM 
YELLOW  LIGHT  for  the  center. 

Lily  of  the  Valley  and  Narcissus — 
(Oil  Painting) 

A  very  small  quantity  of  IVORY  BLACK  and 
ANTWERP  BLUE  mixed  with  WHITE  will 
make  a  good  shading  for  Lily  of  the  Valley  and 
Narcissus.  Apply  the  high  lights  with  pure 
clean  WHITE  and  the  center  of  these  flowers 
can  be  painted  at  the  end  with  a  small  touch  of 
CHROME  YELLOW  DARK  and  WHITE.  The 
high  lights,  of  course,  are  in  plain  WHITE. 

56 


Poppies — fChina  Painting)    (See  page  39) 

In  painting  poppies  with  china  color  you  should 
use  a  large  square  shader  and  apply  this  flower 
in  very  broad  big  touches.  These  flowers  are  so 
simple  in  form  that  it  is  absolutely  necessary  to 
paint  them  with  a  simple  method.  I  would  ad- 
vise you  to  apply  only  the  shadows  on  one  side 
of  the  flower,  leaving  the  opposite  side  plain 
white-  You  may  use  POPPY  RED  or  if  this 
color  is  not  at  hand  you  may  use  the  YELLOW 
RED.  These  two  colors  are  similar  and  will 
both  give  good  results. 

Paint  a  few  delicate  touches  at  the  edge  of  the 
petals  as  if  you  would  outline  them.  These  few 
touches  will  reproduce  the  crispness  of  the  petals 
at  the  edge  where  there  are  many  small  folds 
left  by  the  flower  when  it  was  in  a  bud  form. 

The  center  of  the  poppy  should  be  left  white 
and  painted  in  APPLE  GREEN.  You  will  notice 
that  this  flower  has  a  center  made  like  a  small 
button  and  you  must  try  to  reproduce  it  exactly 
so.  There  are  also  small  black  seeds  around  the 
center  and  these  can  be  painted  with  BEST 
BLACK. 

On  the  second  firing  you  may  apply  Poppy  Red 
covering  the  whole  flower  light  or  dark,  but  have 
a  few  high  lights  cut  out  plain  WHITE.  This 
color  refers  to  field  poppies  and  also  to  some  of 
the  double  poppies  which  are  much  larger  than 
the  poppies  you  find  in  the  field. 

For  pink  poppies  I  would  use  the  SWEET 
PEA  PINK  and  for  white  poppies  I  would  use  in 
the  shading  the  COPENHAGEN  GREY.  The 
center  of  all  these  poppies  have  about  the  same 
color.  Apply  little  touches  with  a  small  brush 
and  besides  our  suggestions  you  may  also  use 

57 


your  own  judgment  in  case  you  notice  that  a 
small  change  might  improve  the  flower. 
Japanese  Poppies — (Water  Color  Painting) 
In  water  color  painting  VERMILION  RED 
will  he  a  very  appropriate  color.  If  this  color  is 
a  trifle  too  light  you  may  add  to  it  a  small  quan- 
tity of  CARMINE.  Apply  this  color  with  a  large 
brush  and  have  plenty  of  color  so  that  the  touch 
will  be  rich  and  smooth.  For  the  light  shades 
you  may  use  the  same  color  only  very  watery 
and  for  the  center  of  the  flower  you  may  use 
EMERALD  GREEN  with  light  small  touches  of 
IVORY  BLACK  for  the  seeds. 

For  light  delicate  pink  poppies  the  CARMINE 
mixed  with  water  will  give  a  pretty  shade  and 
for  white  poppies  water  with  a  trifle  of  PAYNES 
GREY  will  be  very  appropriate.  EMERALD 
GREEN  and  IVORY  BLACK  will  be  used  for  the 
center. 

Japanese   Poppies — (Oil   Painting) 

In  oil  painting  you  may  use  also  the  VER- 
MILION RED  for  varied  poppies  perhaps  mixed 
here  and  there  with  a  trifle  of  WHITE  and  in 
the  dark  places  with  CARMINE  LAKE.  The 
center  can  be  made  in  any  light  GREEN  that 
you  may  have  at  hand  and  the  little  seeds  can 
be  made  with  IVORY  BLACK.  Use  more  or  less 
WHITE  with  the  VERMILION  as  you  may  find 
necessary. 

For  pink  poppies  use  WHITE  and  a  trifle  of 
CARMINE  and  for  white  poppies  a  trifle  of 
BLACK  mixed  with  WHITE. 

Pansies — (China  Painting)   (Sfee  page  3) 

The  large  variety  of  pansies  and  the  extensive 
variety  of  color  effects  of  this  flower,  will  make 
it  necessary  for  me  to  give  a  general  rule  on 

58 


how  to  paint  them  rather  than  an  exact  list  of 
colors.  I  would  say  that  almost  any  color  is 
good  for  painting  pansies  beginning  with  VIO- 
LET, PURPLE,  ORANGE,  YELLOW,  GREY, 
BLACK,  RED,  and  in  fact,  any  color  in  the 
palette. 

The  best  method  for  painting  pansies  on  china 
would  be  to  give  a  definite  outline  of  the  flower 
itself  showing  a  dented  edge,  and  when  you  have 
this  shape  planned  out  you  can  apply  the  dark 
lines  at  the  lower  three  petals. 

Remember  that  the  center  of  the  pansies  is  in 
a  delicate  ORANGE  color  or  you  may  also  use 
EGG  YELLOW  or  YELLOW  BROWN.  These 
dark  spots  in  the  center  of  the  three  lower  petals 
give  the  character  to  the  flower,  and  afterward 
you  may  apply  the  ragged  shading  generally 
seen  toward  the  outer  edge  of  the  three  lower 
petals.  This  color  is  sometimes  similar  to  the 
three  dark  spots  at  the  center  but  sometimes  is 
of  a  much  lighter  color.  The  two  upper  petals 
are  generally  lighter  than  the  other  three. 

As  I  mentioned  in  the  beginning,  you  may  use 
almost  any  color  if  you  are  able  to  keep  the 
shape  of  the  flower  and  you  will  always  have  a 
good  effect.  PURPLE  BLACK  mixed  with  a 
trifle  of  RUBY  PURPLE  No.  2  or  CRIMSON 
PURPLE  will  make  a  very  good  dark  shade. 
VIOLET  COLOR  No.  2  mixes  always  very  well 
with  PURPLE  BLACK  and  gives  a  beautiful 
dark  tone.  These  colors  RUBY  PURPLE  No.  2, 
VIOLET  No.  2,  PURPLE  BLACK,  ORANGE, 
YELLOW,  and  LEMON  YELLOW  are  colors 
that  will  make  always  good  shades  for  pansies 
in  china  painting. 

For    white    pansies    I    would    advise    COPEN- 

59 


HAGEN  GREY  and  if  necessary,  the  addition  of 
some  of  the  colors  already  mentioned. 

Pansies — (Water  Color  Painting) 

As  I  stated  on  the  painting  of  pansies  on 
china,  there  are  so  many  varieties  of  colors  and 
effects  in  the  family  of  pansies  that  almost  any 
color  will  be  appropriate  for  the  purpose.  Trace 
lightly  the  shape  of  the  flower  and  apply  at  first 
the  dark  ragged  spots  at  the  center  of  the  three 
lower  petals.  Apply  afterwards  the  different 
colors  on  the  edges  of  the  flowers  and  use  plenty 
of  water  so  that  your  touches  will  look  easy  and 
smooth.  Apply  your  colors  freely  and  do  not 
tinker  because  if  you  are  afraid  you  will  always 
make  a  bad  mess  of  the  work. 

You  may  use  the  following  colors  according  to 
the  pansies  that  you  wish  to  paint:  CARMINE 
LAKE  mixed  with  COBALT  BLUE  will  make  a 
beautiful  PURPLE  tone,  mixed  with  PRUSSIAN 
BLUE  it  will  make  a  still  darker  PURPLE 
shade.  IVORY  BLACK,  DARK  CADMIUM 
YELLOW,  LIGHT  CADMIUM  YELLOW, 
BURNT  SIENNA,  PAYNES  GREY  and  occas- 
ional touches  of  VERMILION  will  be  good  colors 
for  the  painting  of  pansies  in  water  colors. 

for  white  pansies  use  PAYNES  GREY  very 
thin  and  be  certain  to  leave  tht  center  of  the 
flower  plain  white  and  cover  tbis  part  with  a 
DARK  YELLOW  tone  which  you  may  have  at 
hand. 

1'ttnsies — (Oil  Painting) 

If  you  read  the  description  of  pansies  as  given 
in  water  colors,  I  think  this  will  give  you  an 
idea  of  the  colors  to  be  used  also  in  oil  painting. 
The  advantage  that  you  have  in  oil  painting  is 
that  you  can  put  down  almost  any  color  in  the 

60 


beginning,  and  you  can  afterwards  mix  these 
colors  with  WHITE  and  give  a  quantity  of  high 
lights,  finishing  up  the  flower  very  quickly. 

In  painting  pansies  apply  the  darker  colors  at 
first  and  follow  this  up  with  medium  dark  shades, 
and  on  the  end  add  more  of  the  WHITE  for 
high  lights.  IVORY  BLACK,  COBALT  BLUE, 
CRIMSON  LAKE,  ORANGE  YELLOW,  RAW 
SIENNA,  BURNT  SIENNA  and  WHITE  mixed 
according  to  the  need  are  good.  The  CARMINE 
mixed  with  COBALT  BLUE  will  make  a  beauti- 
ful VIOLET  and  IVORY  BLACK  mixed  with 
WHITE  will  make  a  good  GREY.  Allow  your 
colors  to  dry  perfectly  before  you  retouch  your 
painting  so  as  to  avoid  the  painting  from  be- 
coming dark  and  muddy. 

Chrysanthemums — (China   Painting) 

For  yellow  Chrysanthemums  in  china  painting 
you  may  use  BROWN  GREEN  for  the  shading. 
On  the  first  firing  apply  only  the  shadows  using 
exclusively  the  BROWN  GREEN  and  leaving  the 
other  parts  plain  WHITE.  On  the  second  firing 
you  may  wash  all  over  the  shadows  and  high 
lights  with  EGG  YELLOW  and  your  flower  will 
be  correct.  Of  course,  touches  of  darker  shad- 
ows can  be  applied  now  with  a  small  brush  and 
by  using  the  BROWN  GREEN  again. 

For  red  chrysanthemums  I  would  advise  you 
to  use  DARK  POMPADOUR  for  the  first  firing, 
painting  on  only  the  shadows  and  leaving  the 
light  parts  plain  white.  On  the  second  firing 
you  wash  all  over  a  medium  thick  coating  of 
YELLOW  RED  No.  2  or  POPPY  RED.  Should 
these  colors  be  not  at  hand  use  CARNATION. 
Dark  touches  may  be  applied  with  VIOLET  of 
IRON,  using  a  small  trifle  of  it. 

61 


The  center  of  RED,  WHITE  and  other  colors 
in  chrysanthemums  is  always  a  trifle  YELLOW 
and  you  may  paint  this  part  with  LEMON  YEL- 
LOW. For  white  chrysanthemums  use  COP- 
ENHAGEN GREY  and  leave  the  high  lights 
plain  WHITE.  To  make  the  effect  pretty  I 
would  advise  you  to  paint  the  center  of  the 
flowers  in  ROSE  COLOR.  Other  shades  found 
in  this  kind  of  flowers  are  VIOLET  of  IRON, 
YELLOW  BROWN  and  many  other  shades. 
Apply  the  petals  with  touches  trying  to  imitate 
the  shape  of  the  petals  themselves  and  do  not 
feel  afraid  of  making  them  too  large  or  too 
small  because  you  will  find  that  there  are  all 
sizes  of  petals  and  therefore  every  one  will  be 
correct. 

Chrysanthemums — (Water   Color   Painting,) 

Work  this  flower  very  broadly  and  artistically. 
Use  your  brush  freely  and  see  that  every  touch 
counts  for  one  petal.  Begin  to  paint  the  flower 
from  the  top  and  allow  the  color  to  run  down 
gradually  with  your  brush  leaving  a  good  many 
of  the  high  lights  plain  WHITE.  These  high 
lights  can  be  tinted  over  later  on  and  as  regard- 
ing the  details,  you  may  apply  these  when  the 
first  application  is  dried. 

For  red  chrysanthemums  use  FRENCH  VER- 
MILION mixed  with  a  trifle  of  CRIMSON  LAKE 
or  BURNT  SIENNA.  On  yellow  Chrysanthe- 
mums use  RAW  SIENNA  for  the  shadows,  and 
either  LIGHT  or  DARK  CADMIUM  for  the 
lighter  shades.  For  white  Chrysanthemums  use 
very  thin  and  watery  PAYNES  GREY.  Of 
course,  there  are  very  many  colors  used  in 
Chrysanthemums  and  you  must  always  try  to 

62 


use  your  judgment  in  adding  or  taking  so  that 
you  make  a  nice  ^effect  in  your  picture. 
Chrysanthemums — (Oil   Painting) 

In  oil  painting  you  can  paint  chrysanthemums 
by  applying  your  color  one  touch  over  another 
giving  the  shape  to  your  touches  exactly  like 
the  petal  of  the  flower.  Your  flower  is  painted 
very  much  like  a  small  cabbage,  so  to  say, 
keeping  the  color  darker  than  the  original  rather 
than  lighter.  You  will  add  all  the  high  lights  a 
little  later  and  you  will  find  the  painting  of  this 
flower  to  be  not  very  difficult. 

For  red  chrysanthemums  use  VERMILION 
shaded  with  a  trifle  of  IVORY  BLACK,  for  yel- 
low chrysanthemums  use  LIGHT  CHROME 
YELLOW  and  ORANGE  YELLOW  shaded  with 
RAW  SIENNA.  For  white  chrysanthemums 
use  WHITE  and  a  small  trifle  of  IVORY  BLACK. 
The  center  of  these  flowers  are  generally  in  a 
light  delicate  YELLOW  or  EMERALD  GREEN. 

Sweet  Peas — (China  Painting) 

This  flower  is  found  in  a  variety  of  delicate 
colors,  but  the  most  popular  and  pretty  shades 
of  them  are  the  pink,  lavender  and  white.  The 
pink  Sweet  Peas  are  painted  with  SWEET  PEA 
PINK  as  this  color  implies.  If  you  do  not  have 
the  SWEET  PEA  PINK  you  may  use  ROSE 
COLOR  or  even  PEACH  BLOSSOM.  For  lav- 
ender Sweet  Peas  you  can  use  VIOLET  COLOR 
very  thin  and  delicate.  For  white  Sweet  Peas 
you  can  use  the  COPENHAGEN  GREY.  Al- 
ways apply  the  shadows  in  the  first  firing  and 
retouch  with  a  small  brush. 

In  the  second  firing  you  wash  over  either  the 
PINK  or  VIOLET  COLOR  if  these  are  the  colors 
of  the  flowers.  Be  certain  and  do  not  use  too 

63 


heavy  colors  because  these  are  very  delicate  and 
airy  flowers  and  therefore  must  be  painted 
lightly. 

Sweet  Peas — (Water  Color  Painting) 

In  water  colors  you  may  use  the  CARMINE 
LAKE  very  watery  for  the  pink  flowers  and  for 
the  lavender  flowers  you  can  use  a  very  light 
tone  of  COBALT  BLUE  mixed  with  a  trifle  of 
CARMINE  LAKE.  For  white  flowers  of  this 
kind  you  can  use  the  PAYNES  GREY  very 
watery.  Apply  the  details  with  a  small  brush 
and  use  this  brush  always  full  of  color. 

Sweet    Peas — (Oil    Painting) 

For  the  painting  of  these  pink  flowers  in  oil 
painting  you  may  use  CARMINE  LAKE  mixed 
with  a  trifle  of  VERMILION  and  plain  WHITE. 
For  lavender  flowers  you  may  add  to  these  three 
colors  a  small  quantity  of  COBALT  BLUE  or 
NEW  BLUE.  For  white  flowers  you  may  use 
plain  WHITE  and  a  trifle  of  COBALT  BLUE 
with  EMERALD  GREEN. 

Always    apply   dark    shadows   first    and   paint 
the  high  lights  while  the  color  is  still  fresh. 
Daffodils  and   Yellow  Daisies — (China   Painting) 

Yellow  flowers  should  be  painted  in  china  with 
BROWN  GREEN  applying  the  shadows  alone  in 
the  first  firing.  We  mention  two  kinds  of 
flowers  such  as  daffodils  and  yellow  daisies,  but 
every  yellow  flower  should  be  painted  with  the 
same  method  and  colors  as  used  for  these  two- 
In  painting  daisies  you  should  use  a  small  pointed 
brush  and  apply  the  small  lines  that  you  will 
find  in  the  petals.  Leave  plenty  of  high  lights 
and  on  the  second  firing  you  can  wash  over  the 
whole  flower  with  a  thin  coating  of  LEMON 
YELLOW. 

64 


The  center  of  the  daffodil  is  in  ORANGE 
YELLOW  and  also  the  center  of  the  daisies, 
though  this  latter  sometimes  has  a  trifle  of 
YELLOW  GREEN  mixed  with  it. 

Daffodils  have  generally  six  petals  and  these 
petals  should  be  painted  properly,  and  on  the 
contrary  daisies  have  no  certain  accurate  number 
of  petals. 

Daffodils  and  Yellow  Daisies — 
(Water  Color  Painting) 

In  water  color  painting  you  may  use  RAW 
SIENNA  for  the  shadows  of  the  daffodils  and 
LIGHT  CADMIUM  for  the  lighter  tones.  The 
center  of  the  daffodils  are  in  dark  Cadmium 
YELLOW  and  the  same  color  can  be  used  also 
in  yellow  daisies,  only  in  this  case  the  center  is 
more  GREEN  and  for  this  you  may  add  a  trifle 
of  EMERALD  GREEN  to  the  YELLOW.  Paint 
these  flowers  freely  and  apply  little  touches  with 
a  small  brush. 
Daffodils  and  Yellow  Daisies — (Oil  Painting) 

In  oil  painting  you  may  use  Light  CHROME 
YELLOW  for  the  light  shades  and  CADMIUM 
YELLOW  mixed  with  RAW  SIENNA  and 
WHITE  for  the  shadows.  These  colors  are  use- 
ful for  both  daffodils  and  yellow  daisies. 

In  the  center  you  may  use  DARK  CADMIUM 
YELLOW  for  the  daffodils  and  the  same  color 
made  a  little  more  GREEN  for  the  center  of  the 
daisies.  Keep  the  high  lights  the  last  and  ap- 
ply your  details  with  a  small  brush. 

White  Daisies  and  Easter  Lilies — 
(China  Painting) 

White  daisies  are  generally  painted  with  a 
dark  background  as  such  a  background  will  car- 
ry out  the  white  effect  of  the  flower.  In  fact, 

65 


in  every  white  flower  a  certain  background  of 
medium  strength  wrill  be  necessary  and  I  would 
advise  a  background  in  GREENS  or  in  dark 
GREYS.  DEEP  BLUE  GREEN  well  padded 
will  make  also  a  good  background  for  White 
flowers.  I  would  advise  you  to  draw  the  white 
daisies  showing  the  size  and  shape  of  the  petals 
and  then  fill  in  the  background.  Your  flower 
will  show  nice  and  white. 

It  is  advisable  to  use  a  small  lining  brush  for 
some  details  in  the  daisies  and  for  the  delicate 
shadows  you  may  use  COPENHAGEN  GREY. 
The  center  is  in  EGG  YELLOW  shaded  with  a 
trifle  of  BROWN  GREEN.  Do  not  apply  too 
much  color  in  the  shading  of  the  daisies  because 
the  more  the  color  the  less  natural  they  will 
look. 

The  same  color  used  for  white  daisies  can  be 
used  on  the  Easter  Lily  and  perhaps  with  all  the 
white  flowers.  These  lilies  have  a  delicate  touch 
of  YELLOW  in  the  center  and  you  can  apply 
this  tint  on  the  second  firing  when  all  the  shad- 
ows are  burned  in.  The  few  small  seeds  in  the 
center  are  in  EGG  YELLOW  or  YELLOW 
BROWN.  These  lilies  should  also  have  a  dark 
background  and  DEEP  BLUE  GREEN  will  be  a 
very  pretty  combination. 

White  Daisies  and   Easter  Lilies — (Water  Color 
Painting) 

As  I  mentioned  in  the  china  painting,  such  a 
white  flower  as  daisies  and  lilies  should  have  a 
certain  background  so  as  to  carry  out  the  white 
flowers.  For  the  shading  of  the  daisies  and  lilies 
you  may  use  a  very  watery  wash  of  PAYNES 
GREY  mixed  with  a  trifle  of  EMERALD  GREEN 

The    center    of    the    daisies    are    in    INDIAN 

66 


YELLOW  and  also  the  seeds  of  the  Easter  lilies. 
Delicate  touches  of  LIGHT  CHROME  YELLOW 
in  the  center  of  the  lilies  will  be  very  appropri- 
ate. Do  not  over  work  the  white  flowers  and 
leave  plenty  of  high  lights  lest  they  look  black 
and  heavy. 

White  Daisies  and  Easter  Lilies — (Oil  Painting) 

The  very  best  way  to  paint  white  flowers  in 
oil  painting  is  to  have  a  general  color  in  the 
canvas  say  of  GREY  or  GREEN  and  apply  the 
white  daisies  or  lilies  with  plenty  of  FLAKE 
WHITE  rigfit  over  the  background.  See  that 
every  touch  counts  for  one  petal  of  the  daisies 
or  for  every  petal  of  the  lilies  as  the  handling 
of  the  brush  is  a  very  strong  help  in  portraying 
the  shapes  of  the  different  flowers. 

The  center  of  the  daisies  is  in  DARK  CAD- 
MIUM YELLOW  shaded  with  RAW  SIENNA 
and  this  will  also  be  used  for  the  seeds  in  the 
lilies.  The  best  color  for  the  shading  of  white 
flowers  will  be  FLAKE  WHITE  and  a  very  trifle 
of  IVORY  BLACK  and  BANDING  BLUE.  Any 
transparency  can  be  made  by  using  WHITE  in 
a  trifle  of  LIGHT  YELLOW  of  any  kind. 
Morning  Glories — (China  Painting) 

A  beautiful  purple  color  seen  in  the  morning 
glories  when  they  are  in  full  bloom  can  be  made 
with  VIOLET  COLOR  2  and  the  shadows  with 
the  addition  of  PURPLE  BLACK.  ROYAL 
PURPLE  will  make  also  a  beautiful  color  and 
RUBY  PURPLE  2  mixed  with  BANDING  BLUE 
will  give  you  many  different  shades  which  can 
be  changed  accordingly,  only  by  adding  more  or 
less  BLUE. 

There  are  also  pink  morning  glories  and  these 
can  be  painted  with  SWEET  PEA  PINK  and 

67 


shaded  with  touches  of  AMERICAN  BEAUTY 
COLOR.  The  strong  lines  dividing  the  flower 
in  five  parts  are  nearly  always  in  RUBY  PUR- 
PLE 2.  In  the  lavendar  shades  you  may  use 
the  same  VIOLET  COLOR  only  thinner  and  the 
white  flowers  of  this  kind  can  be  painted  with 
COPENHAGEN  GREY. 

The    five    partitions    are    always    made    with 
either    RED    or    PURPLE    COLOR.     Apply    the 
shadow  in  the  center  of  the  flower  and  at  one 
side  only  so  as  to  make  a  cup  like  effect. 
Morning  Glories — (Water  Color  Painting) 

In  water  color  painting  you  may  make  a  beau- 
tiful VIOLET  COLOR  by  mixing  COBALT 
BLUE  and  CARMINE  LAKE  and  by  adding 
more  or  less  of  the  BLUE  you  will  make  a  dark- 
er or  lighter  PURPLE.  The  five  partitions  of 
the  flower  are  generally  in  CARMINE  LAKE 
and  there  is  also  a  delicate  tone  in  the  center  of 
the  flower  which  can  be  made  by  using  a  small 
quantity  of  any  light  YELLOW  that  you  have 
at  hand. 

The  lavendar  flowers  of  this  kind  are  painted 
with  less  CARMINE  and  more  BLUE,  and  with 
a  more  watery  color.  For  pink  morning  glories 
you  can  use  this  CARMINE  LAKE  very  deli- 
cate and  thin.  For  white  flowers  you  may  use 
PAYNES  GREY  and  the  five  partitions  will  be 
in  either  CARMINE  or  VIOLET  COLOR.  Be 
careful  in  making  the  right  number  of  partitions 
in  the  flowyer  wrhich  should  always  be  five. 

Morning  Glories — (Oil  Painting) 

In  oil  painting  also  you  can  make  a  very  beau- 
tiful VIOLET  COLOR  by  using  COBALT  BLUE 
mixed  with  CARMINE  LAKE  or  CRIMSON 
LAKE.  By  adding  to  these  two  colors  some 

68 


INK  STUDIES  BY  D.  M.  CAMPANA 


WHITE  the  color  will  be  still  better  and  lighter. 
For  pink  morning  glories  you  may  use  CAR- 
MINE LAKE  and  plenty  of  WHITE  and  for 
white  morning  glories  you  may  use  FLAKE 
WHITE  with  a  small  quantity  of  IVORY  BLACK 
and  COBALT  BLUE.  The  delicate  tones  in  the 
center  may  be  made  with  any  YELLOW  at  hand. 
The  addition  of  PRUSSIAN  BLUE  to  any  of 
the  given  colors  will  make  a  very  dark  rich 
tone. 

Nasturtiums — (China  Painting-)    (See  page  27) 

There  are  a  great  number  of  different  shades 
in  the  Nasturtiums,  some  of  them  being  YEL- 
LOW, some  being  ORANGE,  some  being  RED, 
some  being  PURPLE  and  some  being  nearly 
BLACK.  Notice  that  these  flowers  have  five 
petals  and  be  certain  to  paint  the  proper  number 
of  them.  There  are  in  every  petal  a  number  of 
touches  in  a  dark  tone  on  the  center  of  the 
petals,  toward  the  attachment.  These  should  be 
applied  at  first  by  using  FINISHED  BROWN  or 
BLACK.  Apply  now  the  shadows  of  the  flowers 
by  using  BROWN  GREEN  for  the  yellow  flowers. 
VIOLET  of  IRON  for  the  red  flowers  and  DARK 
FINISHING  BROWN  for  the  other  dark  ones. 

The  center  of  the  flower  is  always  in  NEU- 
TRAL YELLOW  or  BROWN  GREEN  mixed 
with  EGG  YELLOW.  On  the  second  firing  you 
may  cover  the  whole  flower  with  ALBERT  YEL- 
LOW for  the  yellow  flowers,  YELLOW  RED  No. 
2  for  the  red  flowers  and  RUBY  PURPLE  No. 
2  mixed  with  a  trifle  of  HAIR  BLACK  for  the 
other  dark  flowers.  Of  course  you  may  add  a 
number  of  different  shades  if  you  think  they 
are  necessary. 

70 


.Nasturtiums — fWater  Color  Painting) 

In  water  color  painting  for  the  yellow  nastur- 
tiums you  can  use  RAW  SIENNA  for  the  shad- 
ing and  LIGHT  CADMIUM  YELLOW  for  the 
high  lights.  For  the  red  nasturtiums  you  may 
use  BURNT  SIENNA  for  the  shadows  and 
VERMILION  for  the  high  lights.  For  the  dark 
flowers  you  may  use  VAN  DYKE'S  BROWN  for 
the  shadows  and  CRIMSON  LAKE  for  the  high 
lights. 

The  dark  spots  at  the  center  of  the  flowers  are 
always  in  IVORY  BLACK  or  VAN  DYKE'S 
BROWN. 

Nasturtiums — (Oil  Painting) 

In  oil  painting  you  may  use  RAW  SIENNA 
for  the  shading  and  LIGHT  CHROME  YELLOW 
for  the  yellow  nasturtiums.  BURNT  SIENNA 
for  the  red  flowers  perhaps  adding  to  the  latter 
color  a  trifle  of  VERMILION.  For  the  darkest 
flowers  you  may  use  IVORY  BLACK  for  the 
shadows  and  BURNT  SIENNA  for  the  high 
lights. 

The  dark  spots  at  the  center  of  the  petal  are 
in  IVORY  BLACK  or  VAN  DYKE'S  BROWN. 
To  all  these  colors  of  course  you  can  add  a 
number  of  other  shades  according  to  your  effect 
or  to  the  composition  of  the  picture. 
Lilacs — (China  Painting) 

This  flower  is  in  a  lavender  shade  and  varies 
considerably.  Sometimes  you  find  it  very  deli- 
cate and  faded  and  other  times  more  purplish 
and  strong-  The  weather  and  also  the  age  of 
the  flower  influences  its  color  as  when  it  is  seve- 
ral days  old  it  will  become  a  more  faded  and 
less  brilliant  tone. 

Lilac  comprises  a  large  number  of  small  flowers 

71 


one  next  to  the  other  and  rather  crowded  in.  I 
advise  you  to  make  these  little  flowers  with  one 
petal  for  every  touch  and  leaving  a  small  round 
space  in  the  center. 

If  you  will  re-read  the  chapter  on  Forget-Me- 
Nots  and  follow  the  same  method  for  the  paint- 
ing of  lilacs,  you  will  find  this  to  give  very  satis- 
factory results.  Every  one  of  the  little  flowers 
have  four  petals  and  this  fact  must  be  well  con- 
sidered, for  if  you  make  more  petals  than  is 
natural  with  the  flowers,  the  decoration  will  be 
faulty. 

On  the  second  firing  you  can  apply  the  shadows 
of  the  flowers  and  to  make  the  effect  more 
proper  you  may  shade  only  two  of  the  four 
petals  and  the  flower  will  acquire  a  cup  like 
form  which  is  the  proper  style  of  the  lilacs.  It 
is  proper  to  leave  a  small  space  here  and  there 
between  these  little  flow7ers  as  these  small  spaces 
will  lighten  the  effect. 

You  may  use  VIOLET  COLOR  No.  2  for  the 
painting  of  lilacs  on  china  and  if  this  color  might 
prove  a  little  too  blue,  you  may  add  a  small 
quantity  of  ROSE  COLOR  or  SWEET  PEA 
PINK  or  if  you  do  not  have  them,  use  PEACH 
BLOSSOM  or  any  such  color  you  may  have  at 
hand.  In  fact,  by  using  any  of  these  pinks  with 
the  addition  of  a  light  blue  such  as  TUR- 
QUOISE BLUE  or  SEVRES  BLUE,  you  can 
make  a  very  appropriate  lilac  shade  using  more 
or  less  blue  according  to  the  proportion  of  pink 
used  to  your  blue. 

Lilacs — (Water  Color  Painting,) 

In  water  color  painting  you  can  make  a  large 
variety  of  lavender  tints  for  lilac  by  using  CO- 
BALT BLUE  with  CARMINE  LAKE  and  the 

72 


more  the  CARMINE  the  warmer  will  be  the  tone. 
If  you  do  not  have  COBALT  BLUE  you  may 
use  NEW  BLUE  or  even  ULTRAMARINE 
BLUE.  If  you  do  not  have  CARMINE  LAKE 
you  can  use  CRIMSON  LAKE,  in  fact,  you 
could  use  any  of  the  lakes  and  always  produce  a 
good  color  for  the  flowers. 

The  best  method  of  painting  this  subject  in 
water  colors  is  to  apply  one  touch  for  every 
petal  and  begin  from  the  upper  part  and  come 
down  quickly  with  a  full  brush  until  you  have 
the  group  of  lilacs  complete.  The  small  touch 
in  the  center  can  be  applied  on  the  end  when 
the  general  color  is  complete.  You  should  be 
careful  in  leaving  out  a  considerable  number  of 
small  high  lights  which  will  suggest  other  petals 
and  will  make  the  effect  easy  and  delicate. 

Lilacs — (Oil  Painting) 

In  oil  painting  like  water  color  painting  you 
can  make  a  very  pretty  shade  for  lilac  flowers 
by  using  COBALT  BLUE  or  NEW  BLUE  with 
CARMINE  LAKE  or  CRIMSON  LAKE  or  in 
fact  with  any  lake  you  have  at  hand.  Apply  the 
petals  with  a  touch  for  every  one  and  use  a 
rather  dark  color  reserving  the  light  touches  for 
the  very  end  of  the  painting.  Of  course,  all 
these  light  touches  are  made  by  mixing  WHITE 
with  the  other  two  colors  mentioned  before  and 
the  miore  WHITE  the  lighter  will  be  the  tone. 

These  flowers  give  a  good  opportunity  for  a 
little  display  of  stroke  effect  in  oil  painting  as 
there  are  so  many  small  petals  and  these  petals 
are  so  crowded  one  into  the  other  that  you  can 
work  freely  and  use  your  brush  in  almost  any 
manner. 

73 


Wistaria — (China    Painting) 

The  general  effect  of  wistaria  is  in  a  lavender 
delicate  color  very  similar  to  the  lilac.  In  fact, 
the  color  that  you  use  for  the  lilac  could  be  very 
properly  used  for  the  wistaria  and  you  will 
notice  that  this  flower  has  one  very  large,  petal 
at  the  upper  part  and  another  one  curled  up, 
hanging  from  the  upper  petal.  This  second 
petal  is  generally  more  colored  than  the  other 
one  is,  it  is  a  trifle  more  purple  than  the  other 
petal. 

I  would  suggest  that  you  use  VIOLET  COLOR 
No.  2  mixed  with  about  one  third  of  ROSE 
COLOR  or  any  other  pink  if  the  ROSE  COLOR 
is  not  at  hand  and  if  you  have  no  VIOLET 
COLOR  you  can  mix  TURQUOISE  BLUE  or 
BANDING  BLUE  with  about  three  fourths  of 
ROSE  COLOR.  These  mixtures  will  give  you  a 
pretty  combination.  In  the  center  of  the  upper 
petal  there  is  a  very  delicate  touch  of  a  color 
which  you  can  make  by  using  a  very  small 
quantity  of  LEMON  YELLOW. 

Wistaria — (Water   Color   Painting) 

If  you  read  the  instructions  on  lilac  painting 
and  you  follow  these  suggestions  for  the  mixing 
of  colors  you  will  find  these  shades  to  be  very 
appropriate  also  for  the  wistaria.  Apply  the 
color  with  a  large  brush  and  have  this  color  very 
watery,  allowing  it  to  run  freely  because,  with 
the  water  colors,  when  they  run  down  from  your 
brush  freely  they  will  make  a  far  better  touch. 
If  you  go  over  again  and  again,  and  tinker  with 
the  tint,  no  good  result  will  be  obtained. 

The  color  I  would  suggest  for  this  flower  is 
a  mixture  of  COBALT  BLUE  and  CARMINE 
LAKE  or  any  other  you  have  at  hand.  The  more 

74 


GRAPE  SKETCH 


of  the  blue  the  darker  will  be  the  shade.  You 
may  use  your  own  judgment  so  that  you  make 
the  effect  desired. 

Wistaria — (Oil  Painting) 

For  oil  painting  you  can  also  use  COBALT 
BLUE  mixed  with  a  good  deal  of  WHITE  and  a 
trifle  of  CARMINE  LAKE  or  any  other  lake 
that  you  may  have  at  hand-  If  you  have  a 
VIOLET  COLOR  already  made  up  in  tubes  such 
as  MAUVE  you  may  use  this  with  the  addition 
of  WHITE  otherwise  you  can  mix  these  colors 
according  to  the  dark  or  light  tint  that  you  wish 
to  make.  Apply  the  dark  tones  covering  the 
whole  flower  and  you  apply  afterwards  the  light 
parts  until  the  flower  is  comjpleted. 

Geranium — ("China  Painting) 

This  flower  is  found  in  a  variety  of  different 
shades  and  the  most  popular  color  is  the  red  and 
purple,  these  colors  being  seen  in  almost  every 
garden  and  also  in  a  good  many  houses.  There 
is  also  a  white  geranium  and  a  pink  geranium,  but 
I  will  give  here  the  colors  for  the  most  popular 
of  all  and  would  suggest  for  the  red  flowers,  the 
use  of  YELLOW  RED  and  if  this  color  is  not  at 
hand  you  may  use  CARNATION.  For  the  pink 
geranium  I  would  advise  you  to  use  AMERICAN 
BEAUTY  COLOR  which  is  a  strong  pink  and  for 
the  dark  purple  geranium  I  would  advise  you  to 
use  RUBY  PURPLE  No.  2. 

These  colors  can  be  used  thin  for  the  light  parts 
and  thick  for  the  dark  shadows,  though  on  the 
red  geranium  a  good  dark  shadow  can  be  done 
with  VIOLET  of  IRON.  You  will  notice  how 
these  flowers  come  in  clusters  of  five,  six  or  more 
and  they  have  an  attachment  on  the  back  joining 
together  in  one  single  place  at  the  stem. 

76 


Geranium — (Water  Color  Painting) 

In  .water  color  painting  for  the  red  geranium 
you  may  use  the  FRENCH  VERMILION  shaded 
with  a  trifle  of  CRIMSON  LAKE.  For  the  pink 
geranium  you  can  use  GERANIUM  LAKE  which 
is  a  very  bright  color,  and  you  may  shade  this 
color  with  a  trifle  of  CARMINE  LAKE.  For  the 
very  dark  purple  flowers  you  may  use  CRIMSON 
LAKE  shaded  with  a  trifle  of  IVORY  BLACK. 
Have  plenty  of  color  in  your  brush  so  that  your 
liquid  color  will  run  down  and  make  a  smooth, 
even  touch. 

Notice  that  in  the  center  of  the  flower  there  is 
a  small  deep  cavity  which  of  course  you  must 
show  and  put  in  at  the  end  of  the  painting. 

Geranium — (Oil  Painting) 

In  oil  painting  you  can  use  the  VERMILION 
RED  for  the  red  geranium  shaded  with  a  trifle  of 
CRIMSON  LAKE.  For  the  pink  geranium  you 
may  use  the  VERMILION  mixed  with  FLAKE 
WHITE  more  or  less  of  the  WHITE  according  to 
the  deepness  of  the  shade  desired.  For  the  dark 
purple  geraniums  you  can  use  CRIMSON  LAKE 
perhaps  mixed  with  a  trifle  of  IVORY  BLACK. 

In  painting  geraniums  be  certain  and  follow  a 
certain  rule  regarding  the  quantity  of  petals  for 
every  flower  as  this  is  a  very  important  matter 
in  all  paintings  that  you  will  undertake. 

Grape  Painting — (China  Painting) 

Grapes  are  of  varied  colors  as  for  instance, 
Purp'e  grapes,  White  grapes,  Green  grapes  and 
Red  grapes.  Of  course  there  is  no  exact  color 
to  be  used  for  all  grapes,  but  a  line  of  different 
effects  and  different  colors  to  be  used  for  the 
painting  of  these  fruits  will  be  a  very  good  help 
to  the  students.  Before  all,  have  a  good  drawing 
of  your  grapes  and  see  that  the  lines  should  be 
be  simple  and  round.  Of  course,  there  are 

77 


grapes  that  are  oval  but  you  will  never  find 
grapes  with  angular  or  square  shapes  and  if 
you  paint  them  with  a  broken  edge  they  will 
always  look  bad  and  poor. 

I  would  advise  students  to  have  a  good  draw- 
ing of  the  grapes  before  the  start  to  apply  the 
color  and  to  see  that  the  upper  grapes  be  larger 
in  size  than  the  lower  grapes  toward  the  end  of 
the  bunch.  This  fruit  is  transparent  the  liquid 
inside  allowing  the  light  to  shine  through  and  if 
you  look  at  it  carefully  you  will  always  see  a 
ring  of  reflected  light  at  the  lower  edge  of  the 
individual  grapes.  It  is  necessary  that  you 
should  leave  this  reflection  because  it  is  one  of 
the  important  points  that  will  show  the  charac- 
ter of  the  grapes. 

A  good  color  to  use  for  dark  grapes  in  china 
painting  will  be  the  PURPLE  BLACK  mixed 
with  either  a  trifle  of  BANDING  BLUE  or  better 
yet  with  VIOLET  COLOR.  Apply  the  shadow  on 
one  side  of  every  individual  grape,  this  shadow 
to  be  in  the  form  of  a  half  moon,  and  leave  the 
other  part  of  the  grape  plain  WHITE.  Remem- 
ber that  there  is  a  little  transparency  below  the 
shadows  which  should  now  be  left  WHITE. 

On  the  second  firing  you  may  cover  the  whole 
grape  with  VIOLET  COLOR  shaded  down  with 
a  trifle  of  PURPLE  BLACK.  Have  this  coating 
rather  delicate  and  apply  your  transparencies 
by  using  RUBY  PURPLE  rather  thin.  Cut  out 
the  clean  high  lights  in  the  center  of  all  grapes 
and  apply  your  sharp  details  with  a  small  brush 
using  PURPLE  BLACK  pure.  On  light  grapes 
which  is  generally  called  Green  grapes  I  would 
advise  you  to  put  your  shadows  over  every  indi- 

78 


vidual  grape  with  a  thin  touch  of  OLIVE 
GREEN  leaving  the  light  part  plain  WHITE. 

On  the  second  firing  you  can  wash  all  over 
the  grapes  a  very  delicate  shade  of  MOSS 
GREEN  covering  all  of  the  grapes,  the  trans- 
parencies to  be  made  in  EGG  YELLOW.  Cut 
out  the  high  lights  in  the  center  of  every  grape. 
Apply  your  details  with  a  trifle  of  SHADING 
GREEN  not  very  dark. 

For  red  grapes  I  would  advise  you  to  use 
VIOLET  of  IRON  applying  the  shadows  with 
this  color  but  not  heavy.  Leave  the  lights  clean 
as  these  can  be  applied  on  the  second  firing  with 
an  all  over  tinting  of  a  very  thin  RUBY  PUR- 
PLE No.  2  mixed  with  a  trifle  of  DARK  POM- 
PADOUR RED.  The  transparencies  can  be 
painted  in  YELLOW  RED.  Cut  out  the  high 
lights  and  retouch  small  details  with  VIOLET 
of  IRON. 

The  stems  are  generally  painted  in  MOSS 
GREEN. 

Grape  Painting — (Water  Color  Painting) 

In  water  color  painting  it  is  necessary  to  use 
a  full  brush  and  start  to  paint  the  top  grapes 
coming  down  gradually  to  the  lower  one.  Al- 
ways allow  for  the  lights  and  high  lights  be- 
cause from  these  depends  the  lightness  and  bril- 
iancy  of  the  grapes. 

The  shadows  of  the  light  grapes  should  be 
done  with  RAW  SIENNA  shaded  down  with  a 
little  EMERALD  GREEN.  The  reflections  are 
in  LIGHT  CADMIUM  YELLOW  and  the  general 
tint  of  grapes  are  in  a  very  thin  wash  of  EME- 
RALD GREEN  tinted  down  with  a  trifle  of 
COBALT  BLUE.  This  delicate  shade  is  very 

79 


cool  and  pretty  and  you  will  always  find  it  in 
light  grapes. 

No  doubt  you  have  left  out  the  high  lights 
in  the  center  of  the  grapes  as  these  are  left 
plain  WHITE.  For  dark  grapes  use  COBALT 
BLUE  mixed  with  a  trifle  of  CARMINE  for  the 
light  parts  and  for  the  shadows  use  CRIMSON 
LAKE  mixed  with  COBALT  BLUE  rather 
strong  to  make  a  good  dark  shadow.  For  the 
transparencies  use  CARMINE  LAKE. 

For  Red  grapes  use  CRIMSON  LAKE  mixed 
with  a  little  PAYNES  GREY  for  the  shadows. 
Use  this  color  not  very  dark.  For  the  light 
shades  use  a  trifle  of  VERMILION  toned  down 
with  a  small  quantity  of  COBALT  BLUE.  The 
transparencies  are  in  VERMILION.  Always 
give  the  dark  details  on  the  end  and  treat  the 
grapes  very  simply  and  quickly. 

The  stems  of  the  grapes  are  in  INDIAN  YEL- 
LOW mixed  with  a  trifle  of  any  GREEN  that 
you  may  have  at  hand. 

Grape    Painting — (Oil   Painting) 

In  oil  painting  purple  grapes  are  painted  with 
IVORY  BLACK  and  a  touch  of  CRIMSON  LAKE 
for  the  dark  shadows.  The  light  parts  are  in 
COBALT  BLUE,  WHITE  and  a  trifle  of  BLACK 
making  it  a  delicate  gray.  The  transparencies 
are  in  CRIMSON  LAKE  mixed  with  WHITE. 

Red  grapes  are  painted  with  CRIMSON  LAKE, 
a  very  small  trifle  of  IVORY  BLACK,  and 
WHITE  for  the  shadows.  The  light  parts  are 
painted  in  CARMINE  LAKE  with  WHITE,  and 
the  transparencies  with  VERMILION  RED.  The 
high  lights  are  always  applied  on  the  end  with 
a  touch  of  WHITE.  Of  course,  these  are  colors 

80 


dealing  in  general  but  you  may  use  your  judg- 
ment in  adding  or  altering  these  shades  accord- 
ing to  your  needs. 

The  stems  of  the  grapes  are  in  YELLOW 
mixed  with  a  trifle  of  RAW  SIENNA. 

Blackberries — (China  Painting)   (See  page  16) 

Blackberries  are  painted  with  a  dark  color  such 
as  BEST  BLACK  but  still  better  would  be  the 
PURPLE  BLACK  mixed  with  BANDING  BLUE 
in  equal  proportions,  perhaps  adding  a  trifle  of 
any  purple  to  warm  up  the  tint.  Cut  out  few  high 
lights  in  the  center  of  the  berry  and  refire.  Of 
course,  if  you  see  that  you  need  a  little  more  de- 
tails you  can  supply  this  before  you  fire  it  the 
second  time.  Do  not  apply  the  BLACK  too  heavy 
or  lumpy  because  lumpy  colors  are  liable  to 
chip  off. 

Blackberries — (Water  Color  Painting) 

Paint  blackberries  with  PAYNES  GREY  and 
apply  the  dark  shadows  in  a  ring  like  shape.  Start 
from  the  center  and  add  more  and  more  rings  but 
see  that  there  is  much  shadows  on  one  side  and 
very  little  on  the  other.  When  these  shadows  are 
complete  and  the  berries  are  of  the  proper  shape 
you  may  wash  over  a  quick  touch  of  COBALT 
BLUE  mixed  with  a  trifle  of  CRIMSON  LAKE 
and  leave  out  a  number  of  high  lights  here  and 
there  to  make  the  fruits  very  light  and  crisp. 
Some  dark  touches  can  be  made  with  IVORY 
BLACK. 

Blackberries — (Oil  Painting) 

For  oil  painting  you  can  paint  blackberries  suc- 
cessfully by  using  IVORY  BLACK  perhaps  mixed 
with  a  trifle  of  COBALT  BLUE  for  the  shadows 
and  the  same  color  with  the  addition  of  some 

81 


WHITE  for  the  light  parts.  In  the  end  you  may 
apply  some  touches  of  WHITE  for  high  lights. 
If  there  is  any  reddish  shade  to  be  applied,  as 
for  instance  in  the  berries  not  yet  ripe  you  may 
use  more  of  the  CRIMSON  LAKE  and  WHITE. 

Raspberries — (China  Painting) 

In  china  painting  you  may  paint  raspberries  in 
the  very  same  method  as  you  paint  blackberries, 
and  1  would  advise  you  to  read  the  chapter  on 
blackberries.  The  colors  of  course  must  be  changed 
and  you  may  use  DARK  POMPADOUR  for  the 
shadows  and  if  this  color  is  not  at  hand  you  may 
use  BLOOD  RED.  Apply  the  same  color,  only 
much  thinner  for  the  light  parts  and  have  high 
lights  nice  and  clear. 

Raspberries — (Oil  Painting) 

The  CARMINE  LAKE  or  CRIMSON  LAKE 
mixed  with  FLAKE  WHITE  will  give  the  proper 
color  for  red  raspberries.  Use  more  of  the  PUR- 
PLE for  the  dark  parts  and  more  of  the  WHITE 
for  the  light  parts.  The  high  lights  are  in  plain, 
clean  WHITE. 

Strawberries — (China   Painting) 

Strawberries  are  painted  on  china  with  DARK 
POMPADOUR  RED  for  the  shadows  and  for  the 
light  parts  you  may  use  the  same  color  only  very 
much  thinner.  The  RED  BLOOD  No.  2  is  also  a 
good  color  for  this  fruit. 

Notice  that  there  are  many  small  high  lights 
on  this  berry  which  in  the  beginning  must  be  left 
white  and  which  will  be  covered  on  the  second 
firing.  Toward  the  point,  the  strawberries  are  a 
trifle  more  YELLOW,  this  shade  can  be  produced 

82 


with  a  very  small  quantity  of  NEUTRAL  YEL- 
LOW mixed  with  MOSS  GREEN. 

Strawberries — ("Water  Color  Painting) 

For  this  fruit  use  CRIMSON  LAKE  mixed  with 
VERMILION  and  use  it  dark  on  the  dark  shad- 
ows and  much  thinner  on  the  light  parts.  Be  cer- 
tain to  leave  out  some  of  the  high  lights  and  if 
there  is  a  light  color  at  this  point  of  the  berries 
you  may  use  a  touch  of  INDIAN  YELLOW  mixed 
with  any  light  GREEN  at  hand. 

Strawberries — (Oil  Painting) 

CRIMSON  LAKE  and  WHITE  with  the  addi- 
tion of  a  trifle  of  VERMILION  will  be  a  good 
color  for  strawberries  in  oil  painting.  Of  course 
some  of  the  berries  may  be  a  trifle  more  or  less 
ripe  and  the  students  should  change  the  propor- 
tion of  the  colors  so  as  to  make  the  proper  effect. 

Currants — (China  Painting) 

This  little  fruit  is  painted  very  much  like 
grapes  only  in  a  smaller  size  and  by  using  the 
YELLOW  RED  No.  2.  Use  this  color  on 
one  side  in  a  round  crescent  like  touch  and 
the  lighter  shade  on  the  light  part  can 
be  applied  with  the  same  color  only  much  thinner. 

On  the  second  firing  if  you  need  a  little  darker 
details  you  may  apply  this  with  DARK  POMPA- 
DOUR RED.  The  small  point  on  the  lower  part 
of  the  currant  can  be  made  with  SHADING 
GREEN  or  any  dark  color. 

Currants — (Water  Color  Painting) 

In  water  color  painting  you  may  use  FRENCH 
VERMILION  for  the  shading  of  the  currants  and 
in  certain  parts  you  may  add  to  this  color  a  trifle 

83 


of  CARMINE  LAKE.  Leave  some  high  lights 
plain  white  and  the  small  point  at  the  lower  parts 
can  be  made  in  PAYNES  GREY. 

Currants — (Oil  Painting) 

In  oil  painting  also  you  may  use  the  VERMIL- 
ION and  if  necessary  a  trifle  of  BURNT  SIENNA. 
If  necessary  add  a  trifle  of  White  to  your  lighter 
parts  and  the  small  points  at  the  bottom  of  the 
fruit  is  in  BLACK  or  any  dark  color. 

Apples  and  Pears — (China  Painting,) 

Apples  and  pears  have  many  different  colors 
but  the  kind  more  used  for  decorative  work  in 
painting,  are  generally  the  red  apples  and  also  a 
kind  of  partly  red  pear.  For  the  RED  parts  of 
apples  and  pears,  you  may  use  YELLOW  RED 
No.  2,  but  for  the  dark  red  you  can  also  use  VIO- 
LET of  IRON,  also  light  POMPADOUR  RED.  You 
may  shade  these  red  tones  according  to  your  need. 
The  yellow  parts  of  the  apples  and  pears  are  paint- 
ed with  a  trifle  of  ALBERT  YELLOW  and  the 
GREEN  parts  with  BROWN  GREEN.  You  may 
leave  sharp  high  lights  on  the  light  part  of  the 
fruit  and  on  the  center  of  the  apple,  right  op- 
posite, you  can  paint  the  small  touches  of  SHAD- 
ING GREEN.  Of  course  for  apples  that  are  more 
green,  you  may  use  APPLE  GREEN  tone,  while 
on  the  contrary  you  can  use  more  RED  for  the 
red  apples  and  pears. 

Complete  catalog  of  all  kinds  of  artist's  mater- 
ials will  be  sent  free  of  charge  by  writing  this 
author. 


84 


Apples  and  Pears — (Water  Color  Painting) 

The  red  tones  on  the  red  parts  of  the  apples  and 
pears  are  made  with  VERMILION,  while  BURNT 
SIENNA  is  used  for  the  very  dark  parts.  Some- 
times a  trifle  of  CARMINE  LAKE  can  be  added  to 
the  VERMILION.  The  yellowish  tones  can  be 
made  with  INDIAN  YELLOW  pure.  Leave  sharp 
high  lights  white,  and  for  dark  touches  use  any 
dark  GREEN  that  you  may  have  at  hand. 

Apples  and  Pears — (Oil  Painting) 

In  oil  painting  you  may  paint  apples  and  pears 
by  using  a  good  deal  of  WHITE  mixed  with  DARK 
CHROME  YELLOW  for  the  yellow  tones.  Use 
VERMILION  and  CARMINE  LAKE  for  the  red 
parts  and  DARK  CHROME  GREEN  mixed  with 
a  light  YELLOW  for  the  greenish  parts.  In  this 
case  I  would  advise  you  to  apply  the  light  parts 
first  and  add  the  middle  and  dark  tones  in  the 
end. 

Plums — (China  Painting) 

A  good  color  for  plums  in  china  painting  would 
be  the  PURPLE  BLACK  for  the  dark  tones  while 
for  the  lighter  parts  DARK  VIOLET  COLOR  No. 
2  mixed  with  a  trifle  of  PURPLE  BLACK  would 
be  good.  Leave  a  certain  number  of  high  lights 

85 


on  one  side  of  the  fruit  and  apply  the  colors 
smoothly  to  make  it  look  clean  and  pretty.  Notice 
that  in  plums  there  is  a  certain  deep  line  in  the 
center  of  the  fruit  and  you  must  leave  this  deep- 
ness very  clear  and  sharp. 

Plums — (Water  Color  Painting) 

In  water  color  painting  plums  can  be  painted  by 
mixing  PAYNES  GREY  with  a  trifle  of  COBALT 
BLUE.  Use  these  colors  darker  on  one  side  of  the 
fruit  and  very  watery  on  the  light  parts  and  leave 
a  certain  high  light  at  one  side. 

Plums — (Oil  Painting) 

In  oil  painting  you  may  use  IVORY  BLACK 
and  COBALT  BLUE  for  the  dark  parts  of  the 
plums  and  for  the  light  parts  you  may  add  to 
these  colors  a  certain  amount  of  WHITE  and  per- 
haps a  very  small  quantity  of  CARMINE. 

i  I  tf        r        A  **• 

Oranges  and  Lemons — (China  Painting) 

Please  notice  that  both  oranges  and  lemons  have 
an  uneven  surface  and  in  painting  them  you  must 
endeavor  to  show  this  peculiar  roughness  of  their 
skin.  In  painting  on  china,  apply  the  shadows  of 
the  oranges  with  FLESH  SHADOW  or  if  this 
color  is  not  at  hand  with  BROWN  GREEN  mixed 
with  a  trifle  of  YELLOW  BROWN. 

The  shadows  of  lemons  is  in  BROWN  GREEN 
mixed  with  a  trifle  of  LEMON  YELLOW.  On  the 
second  firing  you  cover  the  whole  orange  with  OH- 
ANGE  YELLOW  and  the  lemon  with  LEMON 
YELLOW.  If  this  latter  is  a  trifle  GREEN,  you 
may  add  to  the  YELLOW  a  very  small  quantity 
of  APPLE  GREEN. 

Oranges  and  Lemons — (Water  Color  Painting) 

In  water  color  painting  you  may  use  DARK 
CADMIUM  YELLOW  for  the  general  shade  of 

86 


the  oranges  and  the  shadows  can  be  applied  with 
the  addition  of  RAW  SIENNA.  For  the  general 
tint  of  the  lemons,  use  light  CADMIUM  YEL- 
LOW and  for  the  shadings  use  RAW  SIENNA 
mixed  with  a  trifle  of  EMERALD  GREEN. 

Oranges  and  Lemons — (Oil  Painting,) 

In  oil  painting  oranges  are  painted  with  OR- 
ANGE YELLOW  for  the  general  shade  and  for 
the  darker  parts  you  may  add  RAW  SIENNA. 
For  the  general  tint  of  the  lemons  you  can  use 
LIGHT  CHROME  YELLOW  or  perhaps  any  light 
YELLOW  and  for  the  shadows  you  may  use  RAW 
SIENNA  mixed  with  a  very  trifle  of  EMERALD 
GREEN.  Of  course,  in  oil  painting  there  is  al- 
ways the  addition  of  WHITE  which  you  must  use 
according  to  your  need- 

Nuts — (China  Painting) 

The  color  of  nuts  is  generally  a  light  delicate 
BROWN  tint  and  walnuts,  hazemuts,  hicory 
nuts,  almonds,  acorns  and  any  hard  shelled  nuts 
can  be  painted  for  the  shadow  in  AUBURN 
BROWN  or  HAIR  BROWN  and  the  light  parts 
with  a  general  tint  of  a  very  thin  MEISSEN 
BROWN.  Chestnuts,  for  instance,  are  much  dark- 
er in  color  and  for  these  you  can  use  CHESTNUT 
BROWN  dark  or  light  according  to  your  need. 

Peanuts  are  a  trifle  more  GREY  and  these  can 
be  painted  with  the  addition  of  COPENHAGEN 
GREY  to  the  MEISSEN  BROWN.  Always  apply 
the  dark  shadows  at  first  and  the  light  tones  on 
the  second  firing. 

Nuts — (Water  Color  Painting) 

In  water  color  painting  you  may  use  the  VAN 
DYKE  BROWN  for  the  dark  shadows  in  the  diff- 
erent nuts.  I  would  suggest,  if  this  color  is  too 
dark,  that  you  may  add  RAW  SIENNA  to  the 
former  color.  For  the  light  tints  you  should  use 
RAW  SIENNA  very  thin  mixed  with  a  trifle  of 

87 


BURNT  SIENNA.  Of  course,  some  of  the  nuts 
are  darker  in  color  than  others  and  you  should 
study  this  matter  carefully  and  add  more  or  less 
of  these  colors  until  you  obtain  the  proper  shade. 

Nuts— (Oil  Painting) 

In  oil  painting  you  may  use  VAN  DYKE 
BROWN  or  BONE  BROWN  mixed  with  a  trifle 
of  ORANGE  YELLOW.  For  the  light  parts  add 
a  certain  quantity  of  WHITE  and  less  of  the 
BROWN,  also  more  of  the  ORANGE.  If  you  do 
not  have  the  ORANGE  use  any  strong  bright 
YELLOW  that  you  may  have  at  hand.  In  any 
case  be  certain  to  study  the  drawing  of  your  fruit 
so  that  people  may  understand  its  character  at 
once  and  know  which  fruit  you  wanted  to  re- 
produce. 

Cherries — (China  Painting) 

There  are  different  kinds  of  cherries,  some  be- 
ing lighter  and  others  rather  dark  and  for  the 
light  red  cherries  I  would  advise  you  to  use  YEL- 
LOW RED  or  if  not  at  hand  you  may  use  CAR- 
NATION RED.  On  the  dark  parts  of  these  red 
cherries  you  can  use  a  trifle  of  DARK  POMPA- 
DOUR RED. 

Notice  that  cherries  have  a  glossy  surface  and 
this  gives  the  fruit  quite  a  strong  high  light  which 
you  should  endeavor  to  keep  in  plain  WHITE 
china. 

The  dark  cherries  are  painted  with  PURPLE 
BLACK  mixed  with  a  trifle  of  BLOOD  RED  or 
BLOOD  RED  No.  2.  Some  of  the  cherries  have 
a  purplish  hue  and  for  these  you  can  mix  a 
small  quantity  of  RUBY  or  PURPLE  BLACK 
itself. 

For  the  very  light  yellow  cherries  you  could  use 
BROWN  GREEN  mixed  with  a  touch  of  YEL- 
LOW BROWN  for  the  shadows  and  for  the  light 
parts  IMPERIAL  IVORY  mixed  with  a  trifle  of 


YELLOW  BROWN.  As  I  said  in  the  beginning 
of  this  chapter  all  cherries  have  strong  high  lights 
on  one  side  which  you  should  leave  out  in  plain 
white  china. 

Cherries — fWater  Color  Painting) 

In  water  color  painting  you  can  use  VERMIL- 
ION RED  for  the  red  cherries  mixed  with  CAR- 
MINE LAKE  for  the  dark  shadows,  while  for  the 
light  parts  you  can  keep  the  VERMILION  RED 
pure. 

The  light  yellow  cherries  will  be  painted  with 
RAW  SIENNA  and  LIGHT  CADMIUM  mixed  for 
the  dark  parts  and  for  the  light  parts  the  LIGHT 
CADMIUM  YELLOW  very  thin  and  clear.  Of 
course,  if  you  have  not  this  special  YELLOW  you 
can  use  almost  any  light  YELLOW  at  hand. 

For  dark  cherries,  you  can  use  PAYNES  GREY 
mixed  with  a  trifle  of  CRIMSON  LAKE  or  CAR- 
MINE LAKE.  Use  more  of  the  PAYNES  GREY 
on  the  dark  parts.  Do  not  forget  to  leave  the  high 
lights  plain  white,  for  if  you  cover  your  high 
lights,  you  will  not  be  able  to  make  successful 
high  lights  afterwards. 

Cherries — (Oil  Painting) 

In  oil  painting  you  can  use  VERMILION  RED 
for  the  red  cherries  with  the  addition  of  a  trifle 
of  BURNT  SIENNA  on  the  dark  parts.  The  other 
dark  cherries  are  painted  with  IVORY  BLACK 
mixed  with  a  trifle  of  either  CRIMSON  LAKE  or 
CARMINE  LAKE  and  the  very  light  yellow  cher- 
ries are  painted  with  any  LIGHT  YELLOW  that 
you  may  have  mixed  with  a  trifle  of  WHITE  on 
the  light  parts  and  the  same  YELLOW  mixed 
with  RAW  SIENNA  for  the  shadows. 

In  oil  painting  you  can  apply  the  high  lights 
with  WHITE  at  the  end  of  the  lesson. 

Peaches — (China  Painting) 

In  china  painting  peaches  are  painted  with  a 

89 


general  light,  delicate  tint  of  IMPERIAL  IVORY 
for  the  light  parts  and  on  the  dark  parts  of  this 
fruit,  you  may  use  BROWN  GREEN  mixed  with  a 
trifle  of  YELLOW  BROWN.  In  the  center  of  the 
peaches  you  must  have  that  gray  velvety  effect 
by  using  a  small  quantity  of  any  VIOLET  COLOR 
that  you  may  have  at  hand.  Of  course,  this  shade 
must  be  a  bluish  tone  and  you  should  apply  this 
on  the  first  firing. 

On  the  second  firing  you  can  cover  it  with  a 
delicate  tint  of  the  IMPERIAL  IVORY  as  I  have 
suggested  before  so  as  to  make  the  tints  more 
subdue  and  pretty.  If  some  of  the  peaches  are 
a  little  more  GREEN  or  a  little  more  RED  you 
can  add  a  little  of  the  APPLE  GREEN  or  of  the 
PEACH  BLOSSOM  COLOR  according  to  the  ef- 
fect of  the  fruit  and  of  the  full  decoration.  I  have 
mentioned  several  times  that  colors  of  fruits  and 
flowers  must  very  frequently  be  altered  accord- 
ing to  the  general  decoration  of  the  china  or  pic- 
ture which  you  are  painting,  as  for  instance,  if 
your  background  is  very  dark  or  very  bright  you 
must  paint  your  subject  according  to  that  back- 
ground, while  if  the  background  is  light  and  del- 
icate the  fruit  and  flowers  should  also  be  painted 
to  harmonize  with  that  special  background. 

Students,  therefore,  should  use  their  own  judg- 
ment in  all  cases  and  though  I  give  here  correct 
effects  for  the  different  subjects,  they  should  al- 
so study  and  attempt  to  produce  something  of 
their  own,  as  this  is  the  best  method  for  learning. 

Peaches — (Water  Color  Painting) 

In  water  color  painting  you  may  use,  for  the 
light  tones  of  the  peaches,  a  thin  shading  of 
DARK  CADMIUM  YELLOW  and  for  the  pretty 
GREY  tones  in  the  center  you  may  add  a  trifle 
of  PAYNES  GREY  mixed  with  a  small  trifle  of 
CARMINE.  The  dark  shadows  can  be  made  with 
RAW  SIENNA.  You  may  alter  these  three  shades 
if  you  wish  to  make  the  fruit  less  or  more  colored 
accordin  g  to  your  picture. 

90 


There  is  no  high  lights  on  peaches  as  this  fruit 
is  velvety  at  the  surface  and  rather  dull.  Perhaps 
a  little  touch  of  CARMINE  very  light  here  and 
there  will  help  the  effect. 

Peaches — (Oil  Painting) 

In  oil  painting  you  may  apply  at  first  the  dark 
shadows  in  RAW  SIENNA  and  you  may  come  to- 
ward the  center  with  a  mixture  of  WHITE  CO- 
BALT BLUE  and  a  very  little  CARMINE  so  as 
to  make  a  neutral  shade  looking  a  little  violet  in 
tone.  Toward  the  light  parts  you  could  use 
WHITE  with  RAW  SIENNA  and  the  addition 
of  ORANGE  YELLOW  or  DARK  CADMIUM 
YELLOW. 

Change  the  colors  a  trifle  according  to  your  pic- 
ture and  background. 

Gooseberry — (China  Painting) 

In  china  painting  the  green  gooseberries  are 
painted  with  a  very  delicate  thin  tinting  of  OLIVE 
GREEN.  You  will  notice  that  this  fruit  has  some 
long  lines  crossing  over  the  fruit  and  these  small 
lines  can  be  also  made  with  OLIVE  GREEN  us- 
ing this  color  with  a  very  small  lining  brush.  You 
may  use  the  same  color  for  the  shadows  and  for 
the  lighter  parts. 

If  some  of  the  berries  have  a  pinkish  tone,  you 
can  use  a  very  thin  touch  of  DARK  POMPA- 
DOUR. The  thorny  little  parts  which  you  notice 
all  over  the  surface  of  the  fruit  is  made  with  a 
very  fine  pointed  brush  using  OLIVE  GREEN. 

Gooseberry — (Water  Color  Painting) 

In  water  color  painting  you  may  use  a  trifle  of 
HOOKER'S  GREEN  LIGHT  very  watery  for  the 
light  parts  and  a  trifle  darker  for  the  shadows. 
Apply  the  small  lines  crossing  the  fruit  when  the 
general  color  is  dried  and  with  a  small  liner.  If 
some  of  the  fruit  has  a  rosy  color  you  may  at- 

91 


tain  this  color  by  using  a  delicate  touch  of  CAR- 
MINE LAKE. 

Gooseberry — (Oil  Painting,) 

In  oil  painting  you  may  use  also  a  light  GREEN 
of  any  kind  which  you  may  have  at  hand  and  add 
to  it  a  certain  quantity  of  WHITE  to  make  the 
desired  tone.  At  the  dark  part  of  the  fruit  use 
more  of  the  GREEN  and  on  the  other  side  more 
of  the  WHITE.  The  small  lines  crossing  over 
the  fruit  are  made  with  the  same  color  only  by 
using  a  small  lining  brush. 

Mountain  Ash — (China  Painting) 

In  china  painting  you  may  use  either  CARNA- 
TION RED  or  YELLOW  RED  No.  2  for  the 
painting  of  mountain  ash.  In  the  dark  shadows 
you  may  add  a  trifle  of  DEEP  RED  BROWN  or 
VIOLET  of  IRON.  If  that  color  is  a  trifle  too  light 
for  your  decoration  you  may  use  the  LIGHT 
POMPADOUR  for  the  general  color  and  DEEP 
RED  BROWN  for  the  shadows. 

This  fruit  has  a  small  high  light,  which  you 
should  keep  plain  white.  Be  careful  in  keeping  the 
round  shape  of  the  fruit,  as,  if  you  make  some 
oval  and  some  round,  they  will  not  appear  natural. 

Mountain  Ash — (Water  Color  Painting) 

In  water  color  painting  you  may  use  the 
FRENCH  VERMILION  mixed  with  \  trifle  of 
BURNT  SIENNA  for  the  general  tint  of  this 
fruit.  For  the  dar  shadows  you  may  add  more 
BURNT  SIENNA  and  leave  the  high  lights 
plain  WHITE. 

Mountain   Ash — (Oil   Painting) 

In  oil  painting  you  may  use  also  the  VERMIL- 
ION for  the  general  shade  of  the  fruit,  perhaps 
mixed  with  a  small  quantity  of  CARMINE  LAKE. 
For  the  shadows  you  may  mix  with  this  color 

92 


VAN  DYKE  BROWN  and  for  the  high  lights  you 
may  use  plain  WHITE. 

Blueberries — (Thina  Painting) 

Blueberries  in  china  painting  are  painted  with 
PURPLE  BLACK  mixed  with  a  trifle  of  BAND- 
ING BLUE.  Leave  the  little  high  lights  in  the 
center  and  use  more  of  the  BLACK  toward  the 
shadows.  You  must  draw  the  shape  correctly  so 
that  they  all  will  look  alike. 

Blueberries — (Water  Color  Painting) 

In  water  color  painting  you  use  the  PAYNES 
GREY  and  if  necessary  a  trifle  of  COBALT 
BLUE.  Be  certain  to  leave  out  the  high  lights. 

Blueberries — (Oil   Painting) 

In  oil  painting  you  use  IVORY  BLACK  mixed 
with  COBALT  BLUE  and  perhaps  a  trifle  of 
WHITE.  High  lights  are  applied  on  the  end  with 
a  light  touch  of  WHITE. 

Pine-Cones — (China  Painting) 

In  china  painting  you  use  the  AUBURN 
BROWN  or  HAIR  BROWN  for  the  dark  shadows 
of  the  pine-cones.  Apply  the  shadows  in  half 
round  sharp  touches  very  much  like  a  fish  scale 
and  toward  the  light  part  of  the  cone  have  these 
touches  a  little  smaller. 

In  the  second  firing  you  wash  all  over  the  cone 
a  thin  touch  of  MEISSEN  BROWN.  You  may 
strengthen  the  shadows  with  FINISHING 
BROWN  and  the  cones  will  look  pretty  natural. 

Pine-Cones — (Water  Color  Painting) 

In  water  color  painting  you  may  use  BURNT 
SIENNA  for  the  dark  shadows  of  the  pine-cones. 
The  light  parts  should  be  painted  with  DARK 
CADMIUM  mixed  with  a  trifle  of  the  BURNT 
SIENNA.  For  the  dark  touches  use  VAN  DYKE 
BROWN. 

93 


Pine-Cones — (Oil  Painting) 

In  oil  painting  you  may  use  VAN  DYKE 
BROWN  for  the  dark  shadows  and  BURNT  SI- 
ENNA mixed  with  WHITE  and  ORANGE  YEL- 
LOW for  the  light  parts.  Use  more  or  less  of  the 
VAN  DYKE  BROWN  as  you  need. 

Leaves 

Every  fruit  or  flower  has,  of  course,  a  different 
style  of  leaf  and  also  a  different  color.  For  in- 
stance, roses  have  leaves  with  a  dented  edge  very 
much  like  a  saw  and  when  you  paint  these  leaves 
or  when  you  paint  roses  you  should  paint  the 
proper  shape  of  the  leaf,  otherwise  the  flower  and 
the  leaf  will  not  appear  related. 

The  poppies,  for  instance,  have  a  leaf  which  is 
rather  raggy  and  with  a  broken  edge.  The  nar- 
cissus has  a  long,  straight  leaf.  The  violet  has  a 
round,  or  nearly  round,  shape  of  leaf  and  so  has 
the  nasturtium.  Now  if  you  put  a  nasturtium 
leaf  to  a  rose,  or  a  violet  leaf  to  a  narcissus,  you 
undoubtedly  realize  how  absurd  the  effect  would 
be.  When  you  copy  flowers  or  fruits  it  is  of  the 
most  importance  that  you  should  study  the  char- 
acter of  the  leaf,  especially  regarding  its  form. 

The  colors  of  the  leaves  may  vary  consider- 
ably on  certain  seasons  of  the  year,  for  instance, 
leaves  may  be  a  trifle  more  green  in  the  spring 
than  at  some  other  season  or  perhaps  some  of  the 
leaves  being  withered  may  become  more  YEL- 
LOW or  perhaps  a  little  RED.  These  colors,  even 
if  not  very  correct,  may  be  overlooked,  but  not  so 
with  the  proper  form  of  the  leaf. 

You  will  also  notice  that  the  leaves  of  roses 
grow  in  clusters  of  three,  five,  seven  and  perhaps 
more,  and  how  they  attach  themselves  symmet- 
rically to  the  stem.  The  violet  leaves,  for  in- 
stance, start  from  the  roots  of  the  plant.  Leaves 
of  such  flowers  as  narcissus,  tulip,  etc.,  start  from 
almost  any  part  of  the  branch,  and  apples,  pears, 

94 


peaches,  cherries,  etc.,  have  also  no  rules  in  this 
respect. 

All  these  simple  hints  should  be  well  under- 
stood by  students  and  in  painting  the  different 
flowers  and  fruits  should  follow  the  rules  accord- 
ingly. 

I  will  give  you  a  general  idea  of  the  different 
GREENS  used  in  painting  leaves,  these  different 
shades  being  used  according  to  your  judgment 
and  also  according  to  the  general  effect  of  the 
decoration.  As  I  stated  in  the  beginning  of  this 
chapter  the  colors  of  the  leaves  are  dark  GREEN 
in  the  young  life  of  a  flower  or  fruit  and  becomes 
more  and  more  YELLOW  or  RED  with  the  pas- 
sing of  time.  You,  therefore,  should  not  follow 
closely  the  use  of  a  certain  color  of  GREEN,  but 
make  changes  and  alter  the  effect  so  as  to  make 
pretty  color  combination. 

Leaves — (China  Painting) 

In  everything  you  paint,  three  shades  are 
necessary,  as  for  instance,  dark  shadow,  medium 
shadow,  and  the  light  parts.  Leaves  should  have 
a  dark  shadow  perhaps  in  a  very  small  propor- 
tion, the  medium  shadow  in  a  larger  proportion 
and  then  fhe  light  part  which  is  the  part  receiv- 
ing the  light  direct,  and  about  as  broad  in  space 
as  the  medium  shadow. 

A  good  color  for  the  dark  shadow  of  the  leaves 
is  the  SHADING  GREEN  or  if  a  very  dark  color 
is  desired,  the  DARKEST  GREEN.  For  the  me- 
dium shadow  ROYAL  GREEN  or  OLIVE  GREEN 
or  if  you  have  it  at  hand,  EMPIRE  GREEN. 
Either  one  of  these  three  colors  will  be  good  for 
the  medium  shadow.  For  the  lightest  parts  of 
the  leaves  you  may  use  either  one  of  the  follow- 
ing colors:  APPLE  GREEN,  YELLOW  GREEN, 
MOSS  GREEN,  or  perhaps  a  very  thin  coating  of 
RUSSIAN  GREEN.  If  the  leaves  are  in  a  very 
yellow  tone,  for  the  dark  parts  I  would  advise 

95 


BROWN  GREEN  and  for  the  light  shades  MOSS 
GREEN.  If  the  leaves  are  reddish  I  would  ad- 
vise AUBURN  BROWN  or  HAIR  BROWN  for 
the  light  parts.  This  later  color  is  very  pretty 
for  autumn  leaves. 

As  you  notice  that  I  have  given  several  colors 
for  leaves  in  defferent  shades  of  GREEN,  you 
must  use  your  judgment  in  using  the  proper  one. 
In  grape  leaves,  for  instance,  there  is  a  good  op- 
portunity for  using  some  YELLOW  and  RED 
tones  giving  the  impression  that  the  leaves  are  a 
little  old  and  withered ;  here  you  can  use  also  a 
trifle  of  YELLOW  RED  or  perhaps  BLOOD  RED, 
having  touches  of  YELLOW  BROWN  and  AL- 
BERT YELLOW. 

For  shadow  leaves  in  china  painting  you  may 
use  any  neutral,  low  toned  color.  Shadow  leaves 
are  called  those  leaves  which  are  deep  in  the  back- 
ground and  which  are  generally  very  flat  and 
without  detail  helping  to  give  a  relief  to  the  main 
subjects  in  the  foreground.  For  instance,  if  you 
have  your  fruit  or  flower  painted  and  the  main 
leaves  painted  in  clean,  bright  GREEN,  and  all 
the  details  finished  up  carefully,  you  must  have 
several  leaves  in  the  background  painted  with  a 
delicate  flat  grey  tone  and  these  leaves  are  gen- 
erally called  shadow  leaves  because  they  are  sup- 
posed to  be  way  back  from  the  foreground. 

These  shadow  leaves  are  painted  with  a  neu- 
tral color  of  any  kind,  as  for  instance,  SHAD- 
ING GREEN  very  thin  or  COPENHAGEN  BLUE 
very  thin,  or  else  MYRTLE  GREEN  very  thin, 
or  if  the  effect  is  to  be  very  light  you  may  use 
COPENHAGEN  GREY.  These  shadows  leaves 
have  very  little  detail  and  they  will  help  in  mak- 
ing a  very  pretty  effect.  You  may  add  a  sug- 
gestion of  a  stem  here  and  there  so  that  they  do 
not  look  loose  in  the  air.  The  effect  will  be  very 
pretty. 

The  shadow  leaves  are  applied  when  you  ap- 
ply the  background  and,  as  for  instance,  you  ap- 

96 


ply  the  IVORY  YELLOW  background  you 
change  this  color  occasionally  with  a  touch  of  a 
GREY  color  suggesting  the  shape  of  a  leaf  and 
when  you  pad  the  background  you  also  pad  this 
leaf,  making  the  effect  very  soft  and  pretty. 

In  china  painting  the  best  method  for  painting 
leaves  is,  of  course,  the  painting  on  of  dark  shad- 
ows on  the  first  firing  and  the  application  of  the 
general  green  color  on  the  second  firing.  When 
this  second  application  is  dried,  a  few  dark  touches 
of  SHADING  GREEN  or  DARKEST  GREEN,  ap- 
plied with  a  lining  brush,  will  give  a  very  good 
finished  appearance  to  the  leaf. 

When  you  apply  the  background  to  your  decora- 
tion it  is  always  advisable  to  run  over  or  pad  over 
part  of  the  leaves,  as  this  thin  tint  will  soften 
the  appearance  of  the  leaves  and  make  them,  so 
to  say,  appear  deep  in  the  background. 

Do  not  paint  all  the  leaves  of  one  coloring,  but 
if  you  have  some  of  the  leaves  in  OLIVE  GREEN 
and  some,  for  instance,  shadow  leaves  in  a  GREY 
COLOR  you  may  add  one  or  two  leaves  in  BROWN 
GREEN,  for  instance,  and  a  small  one  in  YEL- 
LOW BROWN  and  you  will  find  that  this  variety 
of  color  will  improve  the  effect  very  much. 

I  find  that  in  finishing  up  leaves,  I  apply  the  de- 
tails on  the  very  last,  and  use  a  dark  color  and  a 
small  lining  brush  which  gives  the  finishing  touch 
and  completes  the  appearance  of  the  leaves. 

As  I  stated  several  times  you  should  have  a 
correct  drawing  of  the  leaves  belonging  to  the 
special  flower  or  fruit,  and  even  if  your  color  is 
not  perfectly  correct,  at  least  it  will  not  be  out 
of  drawing  which  is  the  worst  fault  of  any  kind. 

Leaves — (Water  Color  Painting,) 

In  water  color  painting  you  may  use  a  combina- 
tion of  colors  for  the  making  of  all  leaves.  HOOK- 
ER'S GREEN  No.  1  and  HOOKER'S  GREEN  No. 
2  are  two  ready  made  greens  for  leaves,  one  be- 

97 


ing  light  and  the  other  one  dark.  EMERALD 
GREEN  is  a  very  strong  bright  green  which  you 
may  use  for  clean  high  lights.  A  good  green  which 
is  very  much  used  is  a  mixture  of  INDIAN  YEL- 
LOW with  PRUSSIAN  BLUE.  By  using  more 
of  the  YELLOW  and  less  of  the  BLUE,  or  vice 
versa,  you  will  have  a  variety  of  green  tones  very 
soft  and  sunny.  If  you  wish  to  make  a  very  dark 
green,  of  course  you  can  always  add  a  trifle  of 
IVORY  BLACK  or  if  you  want  a  dark  yellowish 
shadow  you  can  use  RAW  SIENNA  mixed  with 
a  trifle  of  BLACK  and  perhaps  of  any  BLUE. 
However,  the  INDIAN  YELLOW  is  a  very  useful 
color  when  mixed  with  PRUSSIAN  BLUE. 

It  will  not  be  necessary  to  give  here  the  begin- 
ning touches  or  the  finishing  touches  of  the  dif- 
ferent leaves,  as  it  is  understood  that  you  should 
apply  the  dark  shadows  and  later  on  the  light 
parts.  On  the  leaves  for  china  painting  I  have 
also,  given  a  few  rules  which  may  be  applied  to 
water  color  painting,  especially  those  that  per- 
tain to  shadow  leaves. 

Shadow  leaves  in  water  color  painting  can  be 
made  with  a  trifle  of  PAYNES  GREY  and  it 
is  to  this  color  that  you  may  add  a  small  quan- 
tity of  any  green  that  you  may  have  at  hand 
which  will  make  the  shadow  leaves  less  or  more 
green  according  to  your  general  effect.  These 
leaves  can  be  applied  either  over  the  background 
or  before,  as  in  water  color  it  is  much  easier  to 
work  out  these  details.  Furthermore,  if  your 
background  or  leaves  should  be  a  trifle  too  dark 
you  could  lighten  them  by  washing  over  with  your 
brush  some  clean  water  and  rubbing  over  and 
over  until  the  colors  are  as  light  as  you  wish  to 
have  them. 

I  will  not  mention  again  the  drawing  of  all 
leaves  which  you  wish  to  paint,  as  this  must  be 
understood  in  every  subject  that  you  undertake. 
For  instance,  drawing  is  the  very  most  important 
and  colors  are  of  a  secondary  importance. 

98 


Leaves — (Oil  Painting) 

The  different  colors  used  for  the  painting  of 
leaves  in  oil  painting  could  be  classified  by  taking 
any  of  the  YELLOWS  and  mixing  these  with 
PRUSSIAN  BLUE  or  COBALT  BLUE  or  else 
NEW  BLUE.  There  is  also  the  EMERALD 
GREEN  which  is  a  very  clear,  bright  color  used 
mostly  for  the  light  parts  and  still  there  is  other 
greens,  as  for  instance,  CHROMES  GREEN  of 
which  there  is  a  light  and  dark  shade. 

In  oil  painting  there  is  always  a  certain  quan- 
tity of  WHITE  mixed  with  the  other  colors  and 
you  must  of  course,  use  enough  of  these  colors  to 
make  the  desired  effect.  RAW  SIENNA  will  be 
helpful  for  cold,  green  leaves  and  for  red  or  au- 
tumn leaves  you  may  use  BURNT  SIENNA  per- 
haps in  combination  with  ORANGE  YELLOW. 
You  may  add  a  trifle  of  BLACK  or  more  BLUE 
for  the  dark  shadows  and  use  a  light  shade  of 
YELLOW  perhaps  mixed  with  EMERALD 
GREEN  for  the  very  clear,  brilliant  tone  of  green 
leaves.  For  the  shadow  leaves  you  may  use  any 
dark  blue  mixed  with  a  trifle  of  WHITE  and  a 
small  quantity  of  RAW  SIENNA  so  as  to  make 
a  dead,  grey  tone.  Of  course,  in  oil  painting  there 
is  always  a  chance  to  change  and  add  your  color 
in  case  you  have  made  any  mistake,  but  I  must 
remind  you  that  you  should  do  this  only  when 
your  first  application  of  colors  are  perfectly  dry 
and  the  drying  will  take  at  least  several  days. 

If  students  desire  a  complete  list  of  colors, 
brushes  and  materials  used  in  painting,  they  may 
have  full  catalog,  free  of  charge,  by  writing  the 
author  of  this  book. 


99 


INDEX 

Page 

Introduction    3 

Preface     7 

Water   Color   Painting 10 

Oil   Painting   16 

China    Painting    21 

Background     27 

Composition    32 

Flowers    and     Fruit 39 

Pink   Roses 40 

Dark   Red   Roses    40 

Yellow   Roses    41 

White    Roses    41 

Violets    46 

Forget-me-nots     48 

Wild    Roses 50 

Apple    Blossoms    52 

Carnations     54 

Lily  of  the  Valley  and   Narcissus   55 

Poppies     57 

Pansies     58 

Chrysanthemums     61 

Sweet    Peas    63 

Daffodils   and   Yellow   Daisies    64 

White  Daisies  and  Easter  Lilies 65 

Morning    Glories    67 

Nasturtiums    70 

Lilacs    71 

Wistaria     74 

Wistaria   Grape   Painting    76 

Geranium     76 

Grape   Painting    77 

Blackberries    81 

Raspberries     82 

Strawberries   83 

Currants     83 

Apples  and  Pears   84 

Plums     85 

Oranges  and  Lemons   _  86 

Nuts    87 

Cherries     88 

Peaches     89 

Gooseberry     91 

Mountain    Ash    92 

Pine   Cones   93 

Blueberries    93 

Leaves    94 

100 


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Teaches  how  to  paint  all  kinds  of  cloth,  silk,  velvets, 
satin,  cotton  dresses,  hats,  tapestry,  etc.  Price  50c. 

The  Teacher  of  Lamp  Shade  Making.     By  E.  Kropp. 

Teaches  how  to  build  and  decorate  paper  shades,  silk 
shades,  cotton  shades,  etc. — giving  all  details.  Price  50c. 

The  Teacher  of  Pastel  Painting.     By  D.  M.  Campana. 

It  teaches  the  best  method  and  the  best  materials  for 
the  painting-  with  pastel  colors.  Price  65c. 

The  Teacher  of  Animal  Painting.     By  D.  M.  Campana. 

How  to  paint  Lions,  Tigers.  Dogs,  Horses,  Cows,  Etc., 
giving  correct  color  and  method.  Price  65c. 

Studies  in  Series.     (20  Series.)     By  D.  M.  Campana. 

Conventional  and  realistic:  all  in  colors  and  original. 
Each  series  contains  6  designs  in  colors  with  full  direc- 
tions. Flowers,  fruit,  conventional.  Each  series  50c. 


University  of  California 

SOUTHERN  REGIONAL  LIBRARY  FACILITY 

405  Hilgard  Avenue,  Los  Angeles,  CA  90024-1388 

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Alfk    for    complete    catalog    containing    designs, 


